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Museum of Modem An: ^ 



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in 2013 







in ttp://arcliive.org/details/pliotoplay 121 pilot 



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Funded by a donation from 
David Sorochty 



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PLAY 



LARGEST " 
CIRCULATION 
OF ANY 
SCREEN I 
MAGAZINE 




TWO GREAT MAGAZINES FOR THE PRICE OF ONE 

IVE AND RITA HAYWORTH: The Story of a Daring Fight for Freedom 



Invite Romance with a Skin that's Lovely! 
90 on the CAMAY MILD-SOAP DIET! 



This thrilling idea is based 
on the advice of skin specialists- 
praised by charming brides! 

HAVE YOU ever heard a man say of 
another woman— "Her skin is 
lovely"— and wondered what he was 
thinking of yours? Wonder no longer 
—be sure your skin invites romance! 
Go on the Camay Mild-Soap Diet! 

Let this exciting beauty treatment 
help bring out all the real, hidden love- 
liness of your skin. For, without know- 
ing it, you may be cleansing your skin 
improperly ... or using a beauty soap 
that isn't mild enough. 

Mrs. Thorsen's skin is wonderful 
proof of what proper care can do. "Not 
a morning . . . not a night would I let 
go by without following my Mild-Soap 
Diet routine," she says. 

Tests prove Camay milder! 

Skin specialists advise regular cleans- 
ing with a fine, mild soap. And Camay 
is milder than dozens of other popular 
beauty soaps tested. Start today on the 
Camay Mild-Soap Diet! 

For 30 days use Camay faithfully 
night and morning. From the very first 
treatment, your skin will feel fresher- 
more alive. And in a few short weeks 
greater loveliness may be your reward. 






COON THE MILD'SOAP DIET TONICHTI 



i 





This lovely bride, Mrs. Robert M. 1 1. "i 
sen, of Evanston, 111., says: "I've found 
the Camay Mild-Soap Diet to be a beauty 
treatment that really works for greater 
loveliness. I'm so pleased with what it has 
done for my complexion!" 



Get three cakes of Camay today I Start the 
Mild-Soap Diet tonight. Work Camay's lather 
over your skin, paying special attention to nose, 
base of nostrils and chin. Rinse with warm water 
and follow with 30 seconds of cold splashings. 



In the morning, one more quick session with 
Camay and your face is ready for make-up. Do 
this twice a day for 30 days. Don"*! neglect it even 
once. For it's the regular cleansing that reveals 
the full benefit of Camay's greater mildness. 



Ay 



FOR 30 DAYS... LIT NO OTHIR SOAP TOUCH YOUR SKINt 




44 




that ... and fou, Darling . . 



THIS was the beautiful hour of triumph 
for a woman who took from life a 
"double brush-off," as Broadway puts it 
— and came back. 

Through the warm dark she could see 
her name glowing in lights ... a rising star 
at 27. Holding her close was the man she 
loved and was going to marry. 

""Darling, darling," she whispered, '"It's 
all too wonderful to be believed! Just 
think, Jim, only a year ago I was broke 
and unknown". . . and patting his arm, 
"and unloved, too." 

She never spared herself the truth. Only 
a year ago Smedley, the producer who was 
starring her now, left orders that she was 
not to be admitted to his offices again, 
"Sure, she may have talent . . . but she's 
got something else, too!" he said flatly. 

And Jim who now held her so tenderly 
had once publicly declared, after dancing 
with her, that she was simply impossible. 
And, like Smedley, he explained why. 



Luckily the shocking truth got back to 
her — and she did something about it. * Later 
she actually forced herself into Smedley's 
office and read the part so beautifully that 
she got it. Then she trapped Jim into a 
date which showed him that his first esti- 
mate of her was wrong . . . that she could 
be completely desirable. 

Two Strikes Against You 

Sometimes fate hangs on the thinnest 
of threads. Habits and personality are 
weighed against ability. 

Make up your mind to one thing, how- 
ever: if you have halitosis (bad breath)* 
your good points can be lost sight of 
before this bad one. And, unfortunately, 
if you are found guilty only once, you may 
be under suspicion always. 

Any one — you included — might have 
halitosis at this very moment without real- 
izing it. So you may offend needlessly. 

Since you do not know, isn't it just 
common sense to be always on guard.' 



Why not let Listerine Antiseptic look after 
your breath.' Why not get in the habit of 
using this amazing antiseptic every night 
and morning and between business and 
social appointments at which you wish to 
appear at your best? 

Be At Your Best 

Fortunately for you, while sometimes 
systemic, most cases of bad breath, accord- 
ing to some authorities, are simply due to 
bacterial fermentation of tiny food par- 
ticles in the mouth. Listerine quickly halts 
such fermentation and overcomes the 
odors which it causes. Your breath becomes 
sweeter, fresher, purer, less likely to offend. 

Always bear in mind that people who 
get places and go places after they get 
there are usually the ones who are careful 
about such things as their breath. Lambert 
Pharmacal Co., St. Louis, Wo. 



LISTERINE ANTISEPTIC for oral hygiene 




iio.M:srv 

>liinr8 forth from a pro<l«cl just as it 
Iocs from a man. Voii will fiiiil it in 

LISTKKl.NK roOTH PASTE 



JULY. 1942 



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Published In 
this space 
eyery month 



Call US Nostradamus, Jr. At any rate 
we're following in the footsteps of the 
eminent foreteller. 




We are about to prophesy that the Jan 
Struther novel, "Mrs. Miniver" will be 
the First Lady of the Screen for '42. 

★ ★ ★ ★ 

We have our paw on the pulse of the 
public when we make our startling pre- 
diction. We saw William Wyler's pro- 
duction of "Mrs. Miniver" in a Holly- 
wood preview. 

★ ★ ★ ★ 

Let us tell you about that preview. 

★ ★ ★ ★ 
Prepared for the screen by producer Sid- 
ney Franklin, who had had an editorial 
hand in"Goodbye Mr. Chips", there was 
reason to believe that "Mrs. Miniver" 
was an equally creditable picture. 

★ ★ ★ ★ 

But it was not certain what the public 
would say. 

. ★ ★ ★ ★ 
It was evident that William Wyler, one 
of the really great directors, had done 
his finest job . . . 

★ ★ ★ ★ 

That Greer Carson as Mrs. Miniver 
had been perfection itself . . . 

★ ★ ★ ★ 

And that Walter Pidgeon as Clem had 
been dream-like casting . . . 




It was said that no finer supporting cast 
had ever been assembled than Teresa 
Wright, Dame May Whitty, Reginald 
Owen, Henry Travers, Richard Ney, 
Tom Conway, Henry Wilcoxon. 

★ ★ ★ ★ 

Still, there was a lot to be learned from 
the first public reaction to this most 
unusual type of film about a peaceful 
little life caught in the maelstrom of 
the moment. 

★ ★ ★ ★ 
Imagine the excitement! Only once be- 
fore — it was the preview of "Big Parade" 
— had there been such a tremendous 
public demonstration in favor of a film. 

. ★ ★ ★ ★ 
"Mrs. Miniver" had joined the big 
parade of the screen's noblest. 

★ ★ ★ ★ 

Now it's true we haven't told you about 
the story. Perhaps we should have done 
it, because our purpose is to arouse 
your interest. 

★ ★ ★ ★ 
Sounds selfish, doesn't it? 

★ ★ ★ ★ 

But when you see "Mrs. Miniver" you'll 
remember whom to thank for the tip — 



JULY 1942 



VOL. 21. NO. 2 




ERNEST V. HEYN 

Editorial Director 



nnn w n 
Km n Eli m cx) ni. 

FRED R. SAMMIS 

Executive Editor 
MARIAN H. QUINN, Assistant Editor 



HELEN GILMORE 

Editor 



HIGHLIGHTS OF THIS ISSUE 
Love — and Rita Hayworth Susanah Parker 26 

The story of a daring fight for freedom 

The Strange Case of Lew Ayres Adele Whitely Fletcher 29 

"You Alone . . ." Adela Rogers St. Johns 30 

A story that will stir you Into making an important decision 

Should a Man Marry before Going to War? Rilla Page Palmborg 34 

What these six stars say may change your wedding picture 

The Skelton in Hollywood's Closet Sally Jefferson 38 

Just for fun: Taking up Red — and his Edna 

Play Truth and Consequences with Irene Dunne Kay Proctor 41 

One of Hollywood's most reticent stars has to tolk up or pay a penalty 

Highroad to Hollywood Dixie Willson 42 

You yourself could be Julie Burns, could hove this very thing happen to you 

Round-Up of Pace Setters Sara Hamilton 46 

Pointers on people Hollywood's pointing to with pride 

Danger — Popularity Ahead! Helen Louise Walker 48 

Four girls in the know say something you should hear 

Personal Conquest Ruth Waterbury 52 

The life story of Joan Fontaine, one of Hollywood's most surprising women 

Mrs. Miniver Fiction version by Madeline Thompson 54 

Advance enjoyment of a film of the year, based on the smash best seller 

The Truth about Co-Stars "Fearless" 56 

Good-by to Marriage, Hello to Romance John Burton 65 

Rounding up the new exciting whispers about Ann Sothern and Bob Sterling 

The Love Dilemma of Jean Gabin Leon Surmelian 66 



Color Portraits of 
These Popular Stars: 

Laraine Day 33 

Tyrone Power 36 

Victor Mature 36 

John Wayne 37 



GLAMOUR 

Cesar Romero 37 

Irene Dunne 40 

Kit Stuff 45 

Portraits: 

George Raft 50 

Linda Darnell 51 



Close Ups and Long Shots — 




Ruth Waterbury 


4 


The Shadow Stage 


6 


Inside Stuff— Cal York 


8 


Speak for Yourself 


18 


Brief Reviews 


70 



FASHIONS, BEAUTY NOTES AND DEPARTMENTS 

Surprise, Surprise! — Marian 

H. Quinn 58 

Date-Raters in Summer Style 59 
Photoplay-Movie Mirror's New 

Fashion Clinic — Evelyn Koye 62 
What's In a Name? 69 

20 Sh Sh! Subjects 98 

Casts of Current Pictures 102 

COVER: Judy Garland, Notural Color Photograph by Paul Hesse 
EDMUND DAVENPORT. Art Director 

PHOTOPLAY combined with MOVIK MIRROR is published monthly by MACFADDEN PUBLICATION'S INC.. Wiis*i- 
iu«lon and South Avenues. Duncllen, Now Jersey. General business, adwritsinc and editorial omces: 205 East 42nd 
Street. New Vork. N. Y. O. J. EUler. President: Havdock Miller. Sec^el.^^y: Chnrles H. Shatluck. Treasurer: Waller 
Hanlon. Advertising Manager. .i:hicago otfice. 2'2\ North LaSalle St., E. K. Lethen. Jr., Mrt. Pacific Coast Office: 
San Francisco, Market 'St.. Lee Andrews. Mgr. Entered »s second-class matter Septemlier 21. ll»3l, al the 

i>ost office in Duncllen. New Jersey, under the act of March 3. 1879. Additional en tr\- at Chicago. III. Price in the 
United SUtos and Possessions, and Newfoundland. 4 1 .00 a year; price i>«r cofk^. United States. lOc: Canada. 15c. 
In Canada. Cuba. Mexico. Haiti, Dominican Kepubtlc. Spain and Possessions, and Cftntral and South American 
countries. exccptlnE British Honduras. British. Dutch and French Guiana. SI. 50 a year: in other countries $2.50 
a vear While Manuscripts. Photographs and Drawings are submittcHl at the owner's risk, everj- effort will be 
made to return those foimd unavailable if accompanied l)y sulWcient first-class postage and explicit name uid 
address. But we will not be res[>onsibIe for any loss of such matter contriliuted. Contributors are especially advised 
to he sure to retain copies of their contributions, otherwise they are taking an unnecessary risk. 

Member of Macladden Women's Group 
ConvrlEht. 1942. bv Macfadden Publications, Inc. Copyright also in Canada. Registered at Stationers' Uall. 

Great Britain. 

The contents of this magazine may not be nMirinted either wholly or in jvart without permission. Refflstro 
NacionnI de la Proplcdad Intelectual. Title trademark registered in U. S. Patent Onlce. 
Printed In U. S. A. by Art Color Printing Co.. Duncllen. N. J. 



2 



PHOTOPLAY co7)ibi>ied with movie mirror 






DHnamite 
iiiitti a 



girl on 
a gun ! 




LADD ... the 



new screen thunderbolt! 



Veronica Lake 
Robert Preston 

in 

THIS GUN FOR HIRE 



A Paramount Picture with 

lAIRD CREGAR ALAN LADD 

Directed by FRANK TUTTLE 
Screen Play by Albert Maltz and W. R. Burnett 
Based on the Novel by Graham Greene 



ASK YOUR THEATRE MANAGER WHEN THIS BIG PARAMOUNT HIT IS COMING 

JULY. 1942 3 



BY RUTH WATERBURY 



THEY claim, around Hollywood, 
that it was Abbott and Costello 
who invented the slogan, "Keep 
'Em Laughing" but the whole town 
has adopted that phrase now . . . and 
a mighty sharp idea that is, too . . . 
for creating laughter is distinctly 
Hollywood's dish . . . and behind the 
scenes in movie town, full many a 
thing is going on right now that is 
both wacky and wonderful. . . . 

For instance . . . eveiy day finds 
more young leading men gone . . . now 
Ty Power is in the Navy and Ronnie 
Reagan, right on the threshold of his 
most brilliant career after his wonder- 
ful work in "Kings Row," has been 
called to fill his cavalry reserve officer 
post ... so the "older" lovers and 
the very young are being depended 
upon more than ever. . . . 

Thus Twentieth Century-Fox is 
trying to cash in right away on the 
grooming it has been giving for more 
than a year to Jean .Gabin, who is 
not young . . . and thus it was that 
after the preview of "Moontide," 
Cabin's first American movie, one fa- 
mous reviewer turned to another and 
said, "Cabin's so good Charles Boy- 
er's toupee is turning grey with envy" 
. . . typical Hollywood humor, that. . . . 

Age is getting an inning, too, in the 
case of Monty Woolley . . . "The Man 
Who Came To Dinner" wasn't quite 



the riot at the box office it was sup- 
posed to be, but Woolley was . . . the 
result is that he has more than a 
quarter of a million dollars' worth of 
contracts waiting for him that he could 
take advantage of if he could only be 
in two places at once . . . for Broad- 
way wants him for two plays and a 
musical and Hollywood wants him for 
four more films ... so right now he's 
settled upon doing "Pied Piper" at 
Twentieth . . . but the interesting part 
of it all is that Woolley, beard and 
acting ability exactly as good as it is 
today, called round at every movie 
studio some four years ago ... he 
was regarded merely as "a beard" 
then, not "the Beard" and while he 
played an occasional ambassador or 
some similar bit role, he never got a 
chance at a good part until the acid- 
etched role of Sheridan Whiteside put 
him across . . . which merely puts 
his story in that crowded file of other 
good actors who are ignored simply 
because they have never been prop- 
erly cast. . . . 

It's typical Hollywood politics that 
is booming the career of Philip Dorn, 
who has been allowed to languish too 
long since his outstanding hit in 
"Escape" ... a brilliant actor, Dorn 
was unhappy but uncomplaining when 
he was wasted on a tiny bit in "Tar- 
zan's Secret Treasure" and his sin- 



cerity and artistic conscience were 
revealed in the fine performance he 
lavished on that silly role . . . but the 
turning of the tide of fortune came 
when Warners tried to borrow him 
from M-C-M for two different pic- 
tures . . . result? . . . Metro's got him 
cast in five fine ones now. . . . 

Also typical of this zany town is the 
fact that Metro could successfully kill 
Laraine Day from the Kildare pictures 
. . . in fact the Kildare film in which 
the Doctor had a new romance turned 
out to be the most successful . . . but 
they don't dare kill Ann Rutherford 
out of the Hardy series . . . and that 
presents a nice problem . . . for Twen- 
tieth Century-Fox has put little Ann 
under contract ... so she'll have to 
be bori-owed back on her original lot 
at a highly advanced salary . . . and 
what that actually proves to the wise 
Hollywood insider is that Ann is more 
popular with the public than Laraine 
Day is. . . . 

AND then, by way of contrast, there 
are two such varied careers as 
those of Maureen OSullivan and 
Katharine Hepburn, both touched by 
today "s conditions. . . . 

After being tagged a flop and then 
getting into "The Philadelphia Story" 
and making that such a terrific stage 
and screen {Continued on page 23) 



4 



PHOTOPLAY combined with movie mirror 




JULY, 1942 



REVIEWING MOVIES OF THE MONTH 

A reliable guide to recent pictures. One check nneans good; two checks, outstanding 





Unforgettable performances, unforgettable 
film: Ida Lupino and Jean Gabin in "Moontide" 



Fire, humor, pathos: Spencer Tracy, Hedy 
Lamarr, John Garfield in "Tortilla Flat" 



Moontide (20th Century-Fox) 

It's About: T/ie regeneration of a 
wanderer and waif through love. 

SEE Gabin! It's the watchword of 
the month and one that will echo 
right down through the months to the 
day the Academy Award is due again. 
If that day doesn't find a tousleheaded 
Frenchman accepting, with a very, 
very slight accent, a coveted Oscar, 
then some powerful performances will 
have to come out of Hollywood in the 
meantime. 

We think this is the equal of, if not 
better than Monsieur Cabin's French 
pictures. As a gusty wanderer among 
the world's waterfronts who finally 
finds, to his astonishment, that he 
wants to settle down with the for- 
saken little waif, Ida Lupino, whom 
he has rescued from drowning, Gabin 
gives an unforgettable performance. 
Ida Lupino is the one and right choice 
as the girl and she rises to every 
demand of the character. 

Thomas Mitchell, the evil barnacle 
who clings to Gabin, and Claude Rains, 
the philosopher, are very good. They 
are more than that actually. Both fit 
their roles like gloves. Or is it vice 
versa? 



Your Reviewer 
the month. 



Says: The sensation of 



The Best Pictures of the Month 

Moontide 

My Gal Sal 

Tortilla Flat 

Take A Letter, Darling 

Best Performances 

Jean Gabin in "Moontide" 

Ida Lupino in "Moontide" 

Victor Mature in "My Gal Sal" 

Rita Hayworth in "My Gal Sal" 

Robert Cummings in "Saboteur" 

Spencer Tracy in "Tortilla Flat" 

Hedy Lamarr In "Tortilla Flat" 

John Garfield In "Tortilla Flat" 

Frank Morgan in "Tortilla Flat" 

Fred MacMurray in "Take A Letter, 
Darling" 

Rosalind Russell in "Take A Letter, 
Darling" 



Tortilla Flat (M-G-M) 

It's About: Li/e and love in old Mon- 
terey. 

HERE is a good picture. You'll like 
it because: 1, It has four wonder- 
fully drawn characterizations in Spen- 
cer Tracy as a no-good loafer; Hedy 
Lamarr, a Portuguese girl with matri- 
monial ideas; John Garfield as her 
subdued love; and Frank Morgan as 
the village miser. 

You'll like it because: 2, It never 
goes overboard in theme or text: 3, It 
has fire, humor, drama and pathos. 

Miss Lamarr has never given a bet- 
ter performance. The scheming, con- 
niving no-good loafer lives and 
breathes on the screen under Tracy's 
underplaying touch. It's Tracy's best 
performance in a long time. Garfield 
is the most believable hot-tempered 
Danny you can imagine and, to our 
surprise, the usually befuddled Mor- 
gan brings a spiritual authenticity to 
his role of the village recluse who 
gives his all for his love for dogs. 

There are so many beautiful, so 
many humorous, so many ever>'day 
things about "Tortilla Flat" one can't 
help but take it to one's heart. 

Your Reviewer Says: All good things 
rolled into one package. 



FOR COMPLETE CASTS OF CURRENT PICTURES SEE PAGE 102 



PHOTOPLAY combined ii'ith movie mibror 



First impressions are lasting! 
Always guard charm with Mum 




My Gal Sal 
(20th Cen+ury-Fox) 

It's About: T/ie Ji/e story oj a young 
American song writer. 

FOR the first time on the screen 
Victor Mature proves himself an 
actor — an actor so good he actually 
becomes the man he portrays: Paul 
Dresser, the young song writer from 
Indiana who set Dad and Mother to 
singing "My Gal Sal" and "On The' 
Banks Of The Wabash," tunes that 
are just as catchy now as they were 
in the gay days. 

From his home on the farm, Vic 
flees a tyrannical father, takes up with 
a crooked medicine man, gets himself 
tarred and feathei-ed, joins another 
traveling show, is seen by the New 
York stage star, Rita Hayworth, who 
laughs at his hickish behavior. 

Infuriated, Vic sets out to show 
Miss Smarty a few things. He does. 
In New York he finds Rita using one 
of his songs in her show and from 
then on, Vic, as Dresser, composes one 
hit after another and finally — but 
that's for your delectable enjoyment. 

Rita is beautiful and performs de- 
lightfully. Carole Landis is very good 
as the show girl who befriends him, 
John Sutton very handsome as the 
producer and Jimmy Gleason excel- 
lent as the music publisher. But Vic- 
tor steals most of the honors. 

Your Reviewer Says: It will linger in 
the memory. 

Take A Le+fer, Darling 
(Paramount) 

It's About: A male secretary who sub- 
dues his woman boss with love. 

CUTER than Christmas, gayer than 
New Year's, peppier than July 
Fourth is this entertaining two-edged 
sword that cuts the gloom (pardon the 
mixed metaphors) and lets the sun- 
shine into your heart. 

Rosalind Russell is a "hard-berled" 
woman advertiser who hires Fred 
MacMurray as an escort-secretary. 
Only 1-o-v-e hits our Rosalind in the 
midst of a campaign and when Fred 
ogles the blonde charmer that controls 
the product that wants advertising, 
Rosalind melts and jealously runs into 
the arms of the blonde's brother, Mac- 
Donald Carey. 

It turns out well, though, with 
snappy dialogue leaping like candle 
flames from the screen. 

Constance Moore is lovely as the 
blonde. Robert Benchley is seen here 
and there as Rosalind's partner. 

Your Reviewer Says: Take a bow, 
darlings. 

(Continued on page 99) 



WHO KNOWS when a chance meeting 
— an unexpected introduction— will 
bring you face to face with romance. Are 
you ready to meet it— sure of your dainti- 
ness—certain of your charm- certain that 
you're safe from underarm odor? 

Millions of women rely on Mum. They 
trust Mum because it instantly prevents un- 
derarm odor — because it so dependably 
safeguards charm all day or ail evening. 




After every both, and before dates, use 
Mum! Then you're sure underarm odor won't 
spoil your day or evening! Mum takes only 
30 seconds — grand when you're in a hurry! 




Product of Bristol-Myers 



TAKES THE ODOR 
OUT OF PERSPIRATION 



Remember, even a daily bath doesn't in- 
sure your daintiness. A bath removes only 
past perspiration, but Mum prevents risk 
of underarm odor to come. Let the daily use 
of Mum insure your charm. Get a jar of 
Mum at your druggist's today! 



FOR SANITARY NAPKINS - Mum is the 
preferred deodorant for this important purpose, 
too, because it's so gentle, dependable 




Stay popular with the friends you make this 
summer. Give romance a chance. With con- 
venient Mum you never need risk underarm 
odor. Mum's safe for clothes, safe for skin, too! 




To hold a man's interest, stay sure of your 
charm! Always be nice to be near! You can 
trust dependable Mum because, without stop- 
ping perspiration, it prevents underarm odor 
for a whole day or evening. 



JULY, 1942 



7 



Eye-for-an-eye ^ 

look at George 
Mo ntgomery, 
fiance Lamorr 



CAL VORKS 

GOSSIP OF HOUyWOOB 

PHOTOGRAPHS BY HYMAN FINK 




Brass buttons pol- 
ished and grin in 
working order, Ron- 
ald Reagan went 
to the Military 
Ball with wife Jane 
Wyman. Claudette 
Colbert's dinner 
pal was Cesar Ro- 
mero in his State 
Guard uniform 



EVENTS OF THE MONTH: The 
Military Ball, held at the Palla- 
dium, was a huge success with 
practically every stai' in the industry 
scattered amongst the throng. Red 
Skelton and Mickey Rooney signed 
autographs until their cramped hands 
refused to hold the pencils. Marion 
Davies, who acted as hostess, was 
everywhere. Marion, who donated a 
hospital to the local State Guard (the 
party was a benefit for the hospital) 
deserves great credit for the success 
of ^e affair. 

Rosalind Russell and her husband, 



Fred Brisson, the Ronald Reagans (he 
in uniform), Irene Dunne looking too 
beautiful, Hedy Lamarr and Rita 
Hayworth on either side of Mr. Wil- 
liam Randolph Hearst, with Hedy's 
devoted swain, George Montgomery, 
near by (so were Bud and Lou), Judy 
Garland with a carnation snood, Betty 
Grable and George Raft, and even 
Mr. and Mrs. Humphrey Bogart, who 
seldom go social, were a few of the 
notables who attended. 

It takes Hollywood to put on a 
show such as this. . . . 

Jane Withers celebrated her six- 



teenth birthday with a good old- 
fashioned hay ride. It took three 
wagons to carry the guests to Jim 
Jeffries' barn out Ventura Boulevard, 
with Jane and Leo CarriUo leading 
the parade on horseback. 

The jitterbug contest at the bam 
was a riot. Bobby Jordan and Edith 
Fellows were the cutest pair there. 

All in all it was a terrific party for 
young and old and Jane will never 
forget her sweet sixteenth birth- 
day. . . . 

The Victory Caravan, cariying some 
of the biggest names in the industry, 



8 



PHOTOPLAY combined u'ith movie mirror 



pulled out for its initial opening in 
Washington, D. C. A special train 
was chartered to carry Charles Boyer, 
Eleanor Powell, Rise Stevens, Laurel 
and Hardy, Desi Arnaz, Ray Middle- 
ton, Jerry Colonna, Bob Hope, James 
Cagney, Olivia de Havilland, Clau- 
dette Colbert, Spencer Tracy, Pat 
O'Brien, Merle Oberon, Joan Bennett 
and many, many others, including 
orchestras and a glamour girl chorus. 

The Caravan will visit thirteen cities 
in two and a half weeks, putting on a 
three-hour show of music, drama and 
comedy in the biggest available thea- 
ter auditoriums. 

The funds gathered will be added 
to the Army and Navy Relief Funds. 

When it comes to charity on the 
grand scale, it takes Hollywood to 
come across! 

A Few Facts About Interesting 
People: Desi Arnaz, Cuban husband 
of Lucille Ball, has been commis- 
sioned a second lieutenant in the 
Cuban Reserves and is subject to call 
any moment. 

Don Barry has been granted two 
billings. He'll be known as "Red" 
Barry in his Western films and Donald 
M. Barry in his big feature roles. Don, 
who is one of those rarities — a fine 
actor, as well as cowboy star — is his 
own worst enemy when it comes to 
cocksure conceit. Too bad, too. 

Ruth Hussey has lost fourteen 
pounds on the strangest diet yet. 
When Ruth wants sweets she eats 
nothing but sweets and one starch 
means a whole meal of starches, etc. 
You should see that figure. 

Myrna Loy is obtaining a Reno 
divorce from husband Arthur Horn- 
blow. 

Clark Gable will lend his talents 
toward making Defense shorts for 
Uncle Sam as well as pictures for 
M-G-M. 

Bette Davis's feverish restlessness 
has driven her from house to house 
until now Bette is living in an amaz- 
ingly modest bungalow in a most un- 
fashionable canyon. Why? Nobody in 
Hollywood can figure it out. 

He Had to Open His Big Mouth: 

Joe E. Brown is back in Hollywood 
from a thirty-three-day tour of our 
Alaskan camps, outposts, gun posi- 
tions and bases. Up in the land of ice 
and snow his name will never be 
forgotten. It will keep pretty fresh 
in the hearts of those lonely kids, too, 
no matter where they go in this 
world-wide war. 

Joe E. was the first and only bit 
of entertainment that had come their 
way in many long months and maybe 
those fun-thirsty kids didn't gulp it 
down. What's more, Joe E. ignored 
all restricting red tape and went on 
his own initiative. 

JULY, 1942 




1^ 



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THE lOVEllER WAY TO AVOID OFFENDING 



Bill Hold en, who's wearing a 
niform now, has a last look 
at a Lux broadcast with Ray 
Milland and Veronica Lake 




{Continued from page 9) A touching 
story was told Cal that concerns Joe 
E. (Hollywood's ambassador of good 
citizenship) and the people, five 
whites and a few hundred Eskimos, 
of Gambell, a tiny town on a far 
Alaskan outpost, a town never before 
visited by a celebrity. With quiet dig- 
nity an Eskimo leader read to Joe E. 
their pi-oclamation that henceforth 
March seventeenth (the day of his 
arrival) would be known as Joe E. 
Brown day and declared a holiday. 
That's what his visit meant to them. 

There were tears in the eyes of this 
man Hollywood knows as a clown 



when the proclamation was read. 
Tears in his eyes and heart. He came 
home and made a proviso in his will, 
Joe E. did. When he is gone, his chil- 
dren will carry on the tradition of 
sending greetings each March seven- 
teenth in the name of Joe E. Brown 
to the citizens of Gambell. 

Much good comes out of Hollywood. 
And a large portion comes from the 
wide mouth and open heart of a man 
named Brown. 

Our Kiddies' Corner: Littler Gary 
Crosby is stealing the thunder from 
those charity golf matches put on by 



Fun of the VACS Fights: Loretta 
Young, beribboned beauty, comes 
to look at husband Tom Lewis 

his dad Bing and friend Bob Hope. 
When Gary gets bored he breaks out 
in song and from then on Bing and 
Bob are minus an audience. 

"We have orange trees for orange 
juice in our back yard," a little 
neighbor boy taunted little Johnny 
Farrow, three-year-old son of Mau- 
reen O Sullivan Farrow. "And we've 
a lot of lemon trees to make lemon- 
ade," he went on. "Well," said little 
Johnny triumphantly, "we've got an 
olive tree for martinis." 

Robert Young and his little daughter 
Barbara were out riding when a low- 
flying plane caused the horses to shy. 
Instantly Bob was off his horse and 
at Barbara's side. For a moment she 
gazed at him wide-eyed and then 
said, "That's right. Daddy, you come 
to me when you're scared. I'll pro- 
tect you." 

Mickey Keeps Grinning: Let me tell 

you this — Mickey Rooney's bride, Ava 



10 



PHOTOPLAv combined with movie mdiror 



jnhlk Stuff 



6i 




Randy Scott gets a Giro's earful 
of what's news m the Army from 
U. S. soldier Burgess Meredith 

Gardner, is much prettier than her 
pictures have her. We thought so the 
first time we saw her and last week 
on the "Me And My Gal" set we de- 
cided she was much, much prettier 
and daintier. Ava had come on the 
set to return a pair of earrings she'd 
borrowed from Judy Garland. The 
girls are very good friends and love 
swapping recipes. Mickey and Ava 
are very happy in their modest little 
apartment and Mickey shows no re- 
gret at having given up a spacious big 
home to live in a few rooms. 

Oh yes, it's love all right. M-G-M 
found that out when Mickey refused 
to remove the wedding band from his 
hand during his pictui'e, "A Yank At 
Eton." Which reminds us of a very 
funny thing that happened on that 
set. Before Mickey married Ava he 
had courted Tina Thayer, who now 
plays a role in the picture. Maybe the 
proximity of ex-girl friend Tina em- 
barrassed Mickey, but for one scene 
Tina was supposed to say to Mickey: 

"Don't you know about shipboard 
romances? They are ephemeral 
things." 

After pondering a moment Mickey 
is supposed to reply: "It all depends 
on how you look at it. To me this 
isn't one of those epher — what you 
said things." 

However, Mickey got his tongue 
twisted over the words. 

He blew the first part of the speech 
and then, half sheepish, half annoyed, 
he finished up loudly: 



I was a Wife /// ^m/^/ 



A NEGLECTED WIFE REGAINS 
HER HAPPINESS BY OVERCOMING 
HER "ONE NEGLECT" 




I. Our marriage started nut like a story-book romance. We were so head-over-heels in love. 
But soon my romance faded. Jim's love turned to cold inditt'erence. I suffereil asonies. 




2. Mrs. M. dropped in one morning and caught 
me crying. She dragged the whole .sad story 
out of me. "My dear," she said, "don't mind 
my frankness — you see, I used to be a Regis- 
tered Nurse, and I understand your trouble. 
So many wives lose their husbands' love be- 
cause of carelessness about feminine hygiene. 



3. "Our head physician set me straight, " con- 
tinued Mrs. M . "Ileadvised his women patients 
to use Lysol for intimate personal care. Lysol, 
you see, is a powerful germicide; u.sed accord- 
ing to eiisydirections,it killsall vaginal germ-life 
on in.stant contact . . . yet ain't harm sensi- 
tive tissues. It cleanses and deodorizes, too." 




4. I've used Lysol for feniiniuo hygiene ever 
since — with never the slightest worry abovit its 
effectiveness. Lysol is so economical — it never 
dents my budget. .\nd — oh, yes, Jim is once 
more "that way" about me — and am I huppy! 



Why you can depend on Lysol 

(iKNTLK VKT rOWKKKL'L— L'soil as 
directed, I.ysol is senile to delicate tis- 
sues (not an acid — no free alkali), yet 
there is no {it rin-li fe iti the i'fi(/ino/ tract 
that Lpsol irill uot kill on instant c<m- 
tact. SPRK AUINCi-No other widely 
advertised douche preparation has the 
wide spreading power I.ysol has — Lysol 
solution virtually searches out serni life 
in tiny folds other liquids may never 
reach. ECO N OM I C A I, — Small bottle 
makes almost 4-i;allons solution. 
CLEANLY ODOR — Soon disappears. 
HOLDS STKENGTIl to last drop— play 
safe with Lysol. 



^^^ ^ /§ l)i-*iii£c cunt 
FOR FEMININE HYGIENE 



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or letter for liooklel P.M.M.-74.2. Address: Lehn & Fiuk, Blwuitield, N. J. 



JULY, 1942 



11 






WITH A FINER BODY TALCUM 
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"To me, this isn't one of those big 
fot ephemeral things!" 

It was so unexpected that the whole 
company broke up in laughter. 

Yes, he's the same old Mickey and 
marriage has only made him faster 
on the comeback. 

Inside Tidbits: Feuds between wo- 
men stars are bad enough, but the 
extent of the mad-on between Betty 
Grable and Victor Mature, with Betty 
dressing down Vic on the set 'til the 
rafters ring, is really something. One 
particular Grable outburst was re- 
turned by Vic with the quiet words: 
"You should learn how to behave 
from Carole Landis." And then all 
Hades broke loose, for Betty isn't 
particularly fond of Landis, either. 
For a few more details of the "mad," 
see page 56. 

Charles Boyer is smarting a bit 
under the fact that Jean Gabin is 
almost accentless in his very first 
picture. "Moontide," after less than a 



year in America, whereas Mr. Boyer 
still speaks thickish English, to say 
the least. 

When Gabin arrived he could say 
only "hello" and "go to hell," which 
some kind soul assured him meant 
"good-by." Wait, we say, not only 'til 
you hear Gabin's splendid English but 
until you get two big eyefuls of that 
Frenchman's acting. Put Cal down 
right now as saying next year's Aca- 
demy Award will be received by a 
tousle-haired gentleman with a very 
slight accent. And we don't mean 
Jerry Colonna, either. 

The fact Annie Sheridan and her 
husband, George Brent, were obvi- 
ously quarreling while out to dinner 
the other night doesn't mean a break- 
up in that marriage exactly. 

You'll remember Annie and George 
did quite a bit of quarreling before 
marriage and that didn't prevent a 
wedding, did it? Why should such 
fracases now mean a divorce, for 
heaven's sake? 



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The Bride Wore— What? While 

thousands of Httle brides-to-be were 
flying about collecting dainty finery 
for their trousseau, the loveliest of 
them all, Hedy Lamarr, was buying 
up bright green, red and orange satin 
cowboy shirts. Yes sir, luscious Hedy 
Lamarr has gone cowboy with a bang 
since her romance with former cow- 
hand George Montgomery, and insists 
hers will be a real out-West wedding 
with both her and George dressed 
in Western garb. Can't you just see 
Hedy in a red bandana with a banjo 
on her knee? Or is it a "git-tar" 
these modern cowboys play? 

If Hedy is already married by the 
time you read this you can ignore 
the rumors that flew about to the 
effect that the pair wouldn't wed be- 
cause once the lasso was tied Hedy 
would be liable for George's eleven 
dependents, which would relieve 
George for active service. You know 
how these rumors are. 

Another report had Hedy planning 
a double wedding with her dear friend 
Margaret Woods, an M-G-M ward- 
robe girl who is engaged to Lt. James 
Jennings. At any rate, Hedy will act 
as bridesmaid for Margaret when she 
does wed. 

Meantime, George is giving Hedy 
lessons in riding and declares she's a 
natural-born horsewoman. And can't 
you picture Hedy cantering along the 
bridlepaths in a green satin shirt? 

Yippee, cowgirl I 

Thisa and Thata Dept.: When 
Victor Mature heard the loud and 
favorable reaction from the critics to 
his performance in "My Gal Sal," he 

A new husband toasts a new wife: 
Wedd Ing-reception view of Paul Doug- 
las, radio announcer, and Virginia Field 




JULY. 1942 




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AVMID 
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Look hard at this hay-ride party and 
you'll find Jane Withers, Gene Reynolds, 
Bobby Jordan, Edith Fellows and Freddie 
Bartholomew tuning up on Jane's birthday 



immediately launched a campaign to 
have the title changed to "Our Boy 
Victor." Hunk-of-Man's antics are like 
a beacon in a blackout to Hollywood. 
For instance, the town went into 
hysterics when Vic actually hired a 
woman gardener. Vic says he's so 
allergic to men he has to have a 
blonde cultivating his Victory Gar- 
den. . . . 

Brenda Marshall (Mrs. William 
Holden) and Jane Wyman (Mrs. Ron- 
ald Reagan) are forming a war- widow 
club in Hollywood now that their 
husbands have left for camps. Why 
not such a club in your home town? 
Brenda and Jane will think up 
schemes to promote War Bond sales. 

The beaux of Donna Reed, the Iowa 
farm beauty who made such a hit in 
"The Courtship Of Andy Hardy," have 



to have the little starlet in early be- 
cause that's the rules of the Studio 
Club where Donna lives. . . . 

For the first time in her life Garbo 
actually paid a neighborly call upon 
her across-the-street neighbor, Paul 
Henried. You could have knocked the 
young Austrian actor over with a 
feather when he found the silent 
Swede on his doorstep. Seems they 
had mutual friends in Europe Greta 
was anxious to hear about. . . . 

The recent blackout found old Cal 
deep in the heart of "Juke Girl." The 
press was crowded into a Warner 
Brothers projection room when the 
lights went out and everything turned 
very black indeed. But quite non- 
chalantly we all paraded downstairs 
and into one of the studio's very 
swanky air-raid shelters where for 




Three who knew 
each other when 
greet each other 
now: Bill Boyd, 
Jack Holt and 
Richard Dix at 
o luncheon in 
honor of Cecil 
B . D e M i II e 



14 



phoiluia\ •jombined with movie mirror 



two hours we were out of touch with 
the world. 

Bob Hope was way up in suburban 
Azusa about to I'eceive the keys of the 
city at a Bob Hope banquet. In the 
midst of things the whole town went 
black, of course, and Bob says he 
finallj' came out of it with a key to 
the back door of Pomona. And oh, 
how they don't love Robert in 
Pomona! 

NOTICE— MgcDonald Fan Clubs: 

Jeanette MacDonald has just received 
word from her enormous English fan 
club that the money formerly used 
for stamps and j lotograph requests 
is now being given to the Red Cross. 
They wondered if Jeanette minded. 

Far from minding, Jeanette is so 
pleased she asks us to pass the word 
along to all her fan clubs, expressing 
her pleasure at the idea. Cal feels 
other stars may have the same re- 
action. Why not write your favorites 
and find out? 

Live Alone and Like It: Eighteen- 
year-old Linda Darnell has moved 
into her own tiny apartment and has 
gone into the business of housekeep- 
ing with all her young heart and 
energy. 

There is no servant waiting for 
Linda upon her return from the studio 
with warm food ready and served. 
Linda hustles up her own and does a 
good job of it at that, especially at 
broiling steaks and chops. On Sun- 
days Linda \dsits with her family who 
agreed the only solution to a crowded 
household and to the quiet Linda must 
have when making pictures was the 
separate home idea. Linda felt her 
early rising at 5:30 and retiring at 
9:30 was too much strain on the 
family's daily life. 

And then, think how glad everyone 
is when Sunday rolls around again. 

Hearts and Flowers Corner: Actor 
Richard Ney is the happiest young 
man in Hollywood since Greer Garson 
has become his dinner partner. The 
two are seen everywhere together. . . . 

Cutest twosome in town is Ray 
MacDonald and Betty Jane Graham, 
Judy Garland's close friend. With 
Jackie Cooper and Bonita Granville, 
Betty and Ray are once-a-week pa- 
trons of the Vine Street bowling alley 
that features Mike Riley's crazy band 
— the one that throws things at the 
customers. Lana Turner walked in 
the other night just in time to receive 
a custard pie in her beautiful face. 
The amazing thing is — no one gets 
mad. Maybe these Hollywood kids 
are setting a good example of how to 
keep good-humored to some of the 
older stars who need it. . . . 

It's still John Payne and Sheila 
Ryan despite the fact John escorted 

JULY. 19Vt 



In Ho//ywood, 

m GOTIAHAVt POLISH!" 





Mc CREJt 

Starred in the Poramovr\l Piclure 

"THE GREAT 
MAN'S LADY" 



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15 




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By popular re- 
quest: Mr. Cary 
Grant stands 
up to spread 
sunshine for 
his applauding 
fans at the 
charity fights 



Same place: Mil- 
ton Berle shares 
grins for the win- 
ning side with 
Eddie "Rochester" 
Anderson, Mrs. 
Anderson at right 




itiiieotuff 



Kay Francis to the Military Ball. 
There is such a thing as studio poli- 
tics, you know. . . . 

George Holmes, former Texas foot- 
ball star and now a Hollywood actor, 
is Linda Darnell's newest escort. 
George has booked up all the free 
nights Linda has, which aren't many 
when she's working for the next three 
months. . . . 

Teresa Wright, who was so good in 
"The Little Foxes" and is now play- 
ing Gary Cooper's wife in "Pride Of 
The Yankees," will probably be a wife 
in real life by the time you read this. 
Teresa is engaged to dialogue direc- 
tor Niven Busch. . . . 

Priscilla Lane, for all she's been re- 
ported seeing her old Victorville beau, 
John Barry, is pretty happy with Lieu- 
tenant Joe Howard, so we under- 
stand. 

Hello, Tomboy: How's about it, 
girls? Are you really a tomboy at 
heart? Well, don't worry about it, for 
some of our biggest glamour girls 
were once freckled-faced female 
hoodlums. Down in Texas, Ginger 
Rogers was the leader of her gang and 
so active her own name of Virginia 



was discarded in favor of Ginger, 
which suited her to a "T." Claudette 
Colbert refused to play with the little 
girls in her neighborhood and at nine 
was the crack swimmer of her com- 
munity and the only girl on her 
brother Charles's soccer team. 

Hair-over-one-eye Lake was al- 
ways a tiny kid, but in Lake Placid, 
N. Y., they still refer to her as Tom- 
boy Keane. Veronica's real name was 
Constance Keane. Veronica says she 
got more trouncings at home for 
climbing telephone poles than she got 
in school for shooting paper wads. 
Even cool and beautiful Madeleine 
Carroll confesses she was a member 
of the home-town hockey team and 
Myrna Loy claims she could throw a 
harder and meaner snowball than any 
kid in Montana. Mary Martin never 
had a saw or hammer out of her hands 
when she was a kid deep in the heart 
of Texas, clap, clap, clap, clap, and 
tore down fences just so she could 
nail them together. Priscilla Lane was 
a barn climber and fell off the roof 
a good half-dozen times. 

So don't despair, mothers, if Sue or 
Sal is a rip-snorter. It takes a lot of 
pep to make the grade today! 



16 



PHOTOPLAY combined with mo\'TE MtRROH 





The Out-West Boys Go South: 

Whoopee, Cal goes cowboy for the 
sake of the Marines. Figure that one 
-out. It happened the Sunday before 
Gene Autry and Smiley Burnette, the 
funny man in all Gene's pictures, left 
for Eastern personal appearances. 
Gene was going down to San Diego 
to visit his brother Dudley of the 
Marines and put on a show for the 
boys, assisted by Smiley who kills 'em 
with his monkeyshines. So Cal was 
invited to go along. 

We rolled along in a three-car 
caravan. Gene, his wife, sister and 
Mary Lee in one car; Cal, Smiley and 
his two-man troupe in another, and 
the Melody Ranch boys in the third, 
leaving right after Gene's afternoon 
broadcast. 

You never saw boys happier to see 
Hollywood folk than those Rifle 
Range Marines who whooped at 
Smiley and cheered Gene's songs. 
Afterwards we all had special supper 
in the big mess hall and then wan- 
dered through the enormous kitchens. 
Smiley almost got lost in the huge 
potato masher and had to be dragged 
out backwards. 

When it comes to downright genial 
fellow-to-fellow friendliness you've 
got to hand it to these Western play- 
ers. Seems they knows just how to 
reach every boy's heart. And as long 
as there's a heart beating for Uncle 
Sam, Gene and Smiley will reach 'em. 

Cal's Answers to Your Questions: 

The original Navy Blues Sextette is 
still in Hollywood, but Peggy Diggins 
is the only one to remain at Warner 
Brothers. Lorraine Gettman, Mar- 
guerite Chapman and Georgia Carroll 
are at Columbia Studios; Claire James 
is married to director Buz Berkeley; 
and Kay Aldridge is Republic's new 
serial queen. 

Bob Stack is not in the Army due to 
a knee injury. Yep, you're right. It 
does place young Mr. Stack in an 
embarrassing position indeed, espe- 
cially since he has no dependents. 




Fink's flash bulb picks off another 
celebrity at the fights: Margaret 
Sullavan. Admirer is husbanri Hayword 




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JULY. 1942 



17 





"pUT all that monthly-chafing worry out 
of your mind. Listen to the voice of 
experience and use Tampax for sanitary 
protection. . . Modern women all around 
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You need no belts, pins or pads. Also 
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er .. . with amazing freedom. Tampax is 
so compact that disposal is naturally easy. 

Regular, Super, Junior are the three 
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about 50% more absorbent.) At drug 
stores, notion counters. Trial box, 20^. 
Economy package of 40 gives you a real 
bargain. Don't wait for next month. Start 
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467,000,000 
TAMPAX 
MADE AND SOLD 




Accepted for Adver- 
tising by the Journal 
of the American 
Metlical Association. 





I! 




FOR VOURSELF 



Score one for 
Dennis Mor- 
gan; score 
$5.00 for a 
reader's view- 
point on him 



$10.00 PRIZE 
Stop Wondering, Girls! 

HAS your Romeo ever described 
your "looks" to you? Has he 
ever told you that you have 
Ann Sothern's hair, Hedy Lamarr's 
eyes, etc.? ' 

If so, have you ever wondered 
what you would look like if you had 
those lovely features that Romeo has 
been telling you about? 

Well, girls, you may stop wonder- 
ing, because here is an "average 
American girl" with: Ann Sothern's 
hair, Olivia de Havilland's eyebrows, 
Hedy Lamarr's eyes, Priscilla Lane's 
nose, and Deanna Durbin's mouth. 

Dorothy A. Coulter, 
Grand Rapids, Minn. 





V 



Each of the features in the picture 
(left, below) was taken from one of 
the colored portraits published in 
Photoplay-Movie Mirror. 

$5.00 PRIZE 
Dennis Morgan 

OH polish up the sunshine 
And fluff the clouds a bit 
A little bird just told my heart 
That this is really IT! 

The school books say, in days of yore 
Apollo was a menace, 
(Add things I never knew before) — 
His other name was Dennis. 

You've got that something in your 
smile 

All stars and stuff — Oh geel 

Could you step down on earth a while? 

Look, Dennis — this is me! 

Do you believe that girl meets boy? 
(My dear, how do you do!) 
And fan meets film star now and then, 
And fairy tales come true? 

And can you hear a wedding bell, 
Soft music on the organ? 
And see me in a rosy spell 
Becoming Mrs. Morgan? 

For you I d swim from shore to shore 
I'd climb the highest Alp. 
Ah, what's the use of saying more — 
Enclosed please find my scalp. 

Dot Blodgett. 
Salt Lake City, Utah 



18 



PHOTOPLAY combined with movie mirror 



$1.00 PRIZE 
Personal to Lew Ayres 

DEAR DR. KILDARE: 
Don't you think you should have 
asked Dr. Gillespie's advice before 
' making your decision? 
' You say your role in "All Quiet" 
influenced you. Remember, your 
soldier was German and he was dis- 
illusioned with the aggressive, avari- 
cious tendencies of his country. Had he 
been fighting to preserve something 
I fine all would have been different, 
f You say war is wrong. That's why 
we're fighting, my friend. If a maniac 
came along your street and took your 
neighbors' homes and possessions and 
j made them slaves, you would give him 
! everything of yours and kiss his boots. 
Is it publicity? Please not now. 
This is too serious and you have many 
admirers. Don't you owe them some- 
thing, if only to respect yourself? 

Are you afraid? Most of our men 
are, but they don't let that stop them 
and that's courage. No sane person 
really wants to fight — you know that. 
, I couldn't possibly go to see any of 
' your movies. I'd get hysterics if I'd 

see Dr. Kildare get hei'oic. 
I What's happened to you, Mr. Ayres? 
■ The otheis in your industry are so 
unselfishly patriotic. 

(Mrs.) a. R. Warren, 

Galveston, Tex. 



PHOTOPLAY-MOVIE MIRROR awards the 
following prizes each month for the best let- 
ters submitted for publication: $10 first prize; 
$5 second prize; $1 each for every other letter 
published in full. Just write in whot you think 
about stars or movies, in less than 200 words. 
Letters are judged on the basis of clarity 
and originality, and contributors are warned 
that plagiarism from previously published 
material will be prosecuted to the full extent 
of the low. Please do not submit letters of 
which copies have been mode to send to 
other publications; this is poor sportsmonship 
and has resulted, in the post, in embarrass- 
ing situations for all concerned, as each letter 
is published in this department in good faith. 
Owing to the great volume of contributions 
received by this department, we regret that 
it is impossible for us to return unaccepted 
material. Accordingly we strongly recom- 
mend that all contributors retain o copy of 
any manuscript submitted to us. Address your 
letter to "Speak for Yourself," PHOTOPLAY- 
MOVIE MIRROR, 205 East 42nd St., New 
York City, N. Y. 



$1.00 PRIZE 
Another Ayres Angle 

YESTERDAY— a hand reaches for a 
butterfly ... a sniper's bullet finds 
its mark . . . the hand reflexes in 
death . . . all's quiet on the western 
front. The Boy who played it felt the 
horrors of war in his heart and hated 
war to the depths his heart could hate. 

Years roll by . . . years in which the 
Boy becomes a man . . . ideas re- 
create themselves . . . ideals fashion 



themselves into new shaoes and forms 
. . . the man in that boy has new 
perspectives on life and on today's 
horizons another war has formed it- 
self from the selfish greed of man. 
But Man finds it hard to conform his 
ideals and ideas to the present which 
time and experience of the past have 
impregnated. And this Man cannot 
leave his mould ... a mould made of 
God and time's creating. 

Lew Ayres . . . the boy reaching for 
the butterfly . . . perhaps knows that 
the path of life is but a pattern set for 
his feet. Judgment of his decision is 
not for me — memories of Lew are too 
roseate and vivid. 

John Thayer, 
Cambridge, Mass. 

For the true story of the strange 
case of Lew Ayres, see page 29. 

$1.00 PRIZE 
Pictures I Can't Forget 

"LI. M. Pulham, Esq.": Bad boy 
' I raised from the dead. 

"The Little Foxes": Bette Davis as 
Tallulah Bankhead. 

"Woman Of The Year": Don't kid 
me. I know they didn't live happily 
ever after. 

"Johnny ELager": Van Heflin com- 
pletely surrounded by beauty and 
some talent. {Continued on page 85) 



PEPSODENT POWDER 

makes teeth 

TWICE AS BRICHT 




Pretty Margaret and Marilyn Rick, Palatine, Illinois, 
Twins, chorus: "Pepsodent's really 'super'!" 




"Did I learn about tooth povvdcrs! Our 
dentist was skeptical at first . . . then amazed 
. . . when Pepsodent made Peg's teeth twice 
as bright as mine! He said he never saw 
anything like it I Neither did we ! Pepsodent 
showed us how really 
bright teeth can be! " 



...But, say! After Margaret won the toss to 
who'd use Pepsodent Powder, it was 
;rent! I chose another well-k 



see 

different! I chose another we 
brand, thinking there couldn't 
much difference." 

For the safety of your smile 
. . . see yo 

JULY. 1942 



nown 
be very 




I it • 

miie . . . use Pepsodent twice a day 
ur dentist twice a year. 



1 




. . . and the Rick 
Twins' Dentist 
says: "I was skep- 
tical... Pepsodent's 
claims sounded 
too good. But, 
this test con- 
vinced me that 
Pepsodent's state- 
ment is accurate": 



eRI[F [{[VIEWS 




PAULETTE GODDARD 

Starring in the Cecil B. deMille Production in Technicolor 

''REAP THE WILD WIND'' 

A Paramount Picture 

Canaries 

ARE****HITS 
IN HOLLYWOOD 

More and more, the stars are taking 
canaries into their hearts and their 
homes. Started as a pet fad, canaries 
today are Hollywood's hobby sensation! 
Wherever the great of Filmdom gather, 
you are likely to hear some golden- 
voiced canary lifting everyone's spirits 
with his joyous song. 

A canary takes but little care, and gives 
matchless hours of loving companion- 
ship. Let a canary keep j/oar heart buoy- 
ant in these trying times! 




Send for FREE 76-page illus- 
trated book on canaries. Just 
mail your name and address, on 
a penny postcard, to THE R. T. 
FRENCH COMPANY, 2493 
Mustard Street, Rochester, N. Y. 



IN HOLLYWOOD 
FRENCH'S BIRD SEED 

fs the FauoMte...4 to 1 

• FRENCH'S.THELARG- 
EST SELLING BIRD SEED 

In the united states. 
20 



Lady looks at 
etchings — or 
the equivalent: 
Fred MacMur- 
ray and Roz 
Russell In the 
new laugh riot, 
"Take A Let- 
ter, Darling" 



Vindicates picture was rated "good" when reviewed 
vvindicates picture was rated "outstanding" when reviewed 



adventures of martin EDEN, THE 
— Columbia: An unpleasant tale with Glenn Ford 
as the seaman and Ian MacDonald the brutal ship's 
captain. Ford tries to become famous as an author 
so he can publish the ship's diary to expose the 
brutality of conditions aboard ship and thus free 
his friend Stuart Erwin. (May) 

ALL THROUGH THE NIGHT — Warners: 
Humphrey Bogart is a gangster who discovers a 
Nazi spy ring led by Conrad Veidt and his aides, 
Peter Lorre and Judith Anderson, and from then 
on it's a hard chase. The cast is expert but the 
melodrama is not so expertly executed. (April) 

ALMOST MARRIED— Vmvers^X: When Jane 
Frazee's baggage goes to Robert Paige's apartment 
and his to hers, it leads to romantic complications 
for them both. Both the players are very person- 
able and Jane sings well. Eugene Pallette is Jane's 
father and Elizabeth Patterson is Paige's aunt who 
wants him to marry a society girl. It's kind of cute. 
(June) 

ALWAYS IN MY HEART— Warners: Kay Fran- 
cis decides to marry wealthy Sidney Blackmer to 
improve the opportunities of her children, Gloria 
Warren and Frankie Thomas. After her husband, 
Walter Huston, is paroled from prison, he goes 
incognito to his family's small town and straight- 
ens out the lives of his children. It's warm and 
friendly and Gloria Warren has a beautiful voice. 
(June) 

BASHFUL BACHELOR— RKO-Radio; Lum and 
Abner, those beloved old codgers of the airways 
come to the screen in a movie that's in keeping with 
their radio roles. Chester Lauck (Liim) is sweet 
on Zasu Pitts and almost exterminates his pal, Nor- 
ris Goff t^Abncr). trying to impress Zasu with his 
heroism. A horse race and fire-engine ride climax 
the doings of this droll pair. (June) 

BLACK DRAGONS — Monogram: A ridiculous pot- 
jmurri of nonsense, this, all about a Nazi-inspired 
plastic surgeon, Bela Lugosi, who makes over six 
Japanese to look like American industrialists so they 
can steal our plans like mad. It's sU too silly for 
words. (June) 

BLONDIE GOES TO COLLEGE— CoXwmha: 
Penny Singleton and Arthur Lake decide to go to 
college in this latest instalment of the adventures 
of tlie Bumpstcad family. They conceal their mar- 
riage, which leads to many complications. 

BLUE WHITE AND PERFECT— 20th Century- 
Fox: Fast-moving mystery with I.loyd Nolan as 
the detective Michael Shayne who leaves his fiancee, 
Mary Beth Hughes, to board a luxury liner cruise 
to Hawaii to pursue a gang of Nazi saboteurs. 

BOMBAY CLIPPER — Universal: Stolen jewels 
provide the motive for a lot of thrilling goings-on 
aboard the Pacific Clipper. Newspaperman William 
Gargan is determined to discover the jewels 



and there's a strange assortment of characters 
aboard the plane. Irene Hervey provides the 
romantic interest. (April) 

BORN TO 5-/.VG— M-G-M : A clever little 
comedy-musical, with Leo Gorcey, Ray .McDonald 
and Rags Ragland trying to get back from a crooked 
show producer the music written by Virginia 
Weidler's father. The youngsters score brightly 
and tiny Richard Hall is a panic, (-\prin 



SHADOW STAGE 

Pictures Reviewed in This Issue 

Page 

Affairs Of Jimmy Valentine 101 

Corpse Vanishes, The 100 

I Married An Angel 99 

I Was Framed 101 

99 
99 
100 
100 
99 
6 
101 
7 

103 

100 

99 

101 
100 
99 

... 1 00 
7 

6 

ICQ 
99 
1 00 

100 



In This Our Life 

Juke Girl 

Man Who Wouldn't Die, The 
Mississippi Gambler 

Mokey 

Moontide 

Murder In The Big House 

My Gal Sal 

Mystery of Marie Roget, The 

Rings On Her Fingers 

Saboteur . . . 

Scattergood Rides High 
Sing For Your Supper 
Spoilers, The 

Suicide Squadron . . . 

Take A Letter, Doriing 

Tortilla Flat 

True To The Army 

Twin Beds 

Whispering Ghosts 

Wife Takes A Flyer, The 



PHOTOPLAY combined with movie mirror 



HKOOKl.YN ORCHID— Hal Roach-U.A.: Wil- 
liam Bcndix, owner of a fleet of taxicabs, is mar- 
ried to Grace Bradley and Joe Sawyer is married 
to Florinc McKinney who doesn't like Miss Brad- 
ley. But when a third woman enters the picture, 
the turmoil gets Koingi •< doesn't get anywhere. 
Marjorie Woodworth is beautiful, (April) 

BULLET SCARS— WarneTs: Regis Toomcy is a 
doctor called upon to treat a wounded gangster and 
he conceives a clever idea for being rescued from 
mob leader Howard daSylva who is detaining him 
because he knows too much. Toomey's prescription 
for the wounded man brings help, and you never 
saw such shooting. Vou never saw such a picture, 
either. (June) 

✓ BUTCH MINDS THE B^/jy— Universal : 
Typical Damon Runyon, amusing and completely in 
character is this comedy of a paroled convict, 
Broderick Crawford, who saves young widow \'ir- 
ginia Bruce from suicide and falls in love with her 
baby. Brod even gets \'irginia a job in a night 
club run by crook Porter Hall and agrees to mind 
the baby while she's at work. With Dick Foran as 
Virginia's cop suitor. (June) 

CAPTAINS OF THE CLOUDS— Warners: 
This timely picture is about the training of bush 
country recruits to become R.C.A.F. flyers, and 
has many exciting moments. The story has Jimmy 
Cagney as an undisciplined sky-riding hijacker who 
earns the enmity of pUots Dennis .Morgan, Reginald 
Gardiner and Alan Hale for his unethical conduct, 
but gets regenerated. With Brenda Marshall. (May) 

I/' COURTSHIP OF AXDV HARDY. THE— 
M G-M: Another winner, packed with genial en 
tertainnient, is this latest in the series, in which 
.Mickey Rooney must take out poor little rich girl, 
Donna Reed, who finally learns a few tricks and 
proves a sensation. A>idy's heart still belongs to 
Ann Rutherford, however. (May) 

DANGEROUSLY THEY LIVE — Warners: 
Nancy Coleman is the British girl spy who lands in 
a New York hospital where John Garfield is in- 
terning and with his aid brings about the downfall 
of a Nazi spy ring. Raymond Massey is the Nazi 
head and Moroni Olsen his chief henchman. (May) 

DON'T GET PF.RSONAL—Vniversal: Eccentric 
Hugh Herbert inherits a pickle factory which spon- 
sors a radio program featuring Richard Davies and 
Jane Frazee in a newlywed series. Hugh gets 
himself all mixed up in a plot to substitute Anne 
Gwynne for Jane. With Mischa Auer. 

FINGERS AT THE WIN DOIV—M-G M : Basil 
Rathbone is the ruthless killer who hypnotizes psy- 
chopathies into killing the victims of Basil's choos- 
ing, and I.araine Day is about to be his latest vic- 
tim when along conies out-of-work actor Lew Ayres 
who seeks for the murderer. It's rather interesting, 
but if this is what Laraine sacrificed the Kildare 
series for, she lost iu the deal. (June) 

)/• FLEET'S IN. TW£— Paramount: This gay 
niusical is fun and entertainment. William Holden 
is a shy sailor who his fellow gobs believe is 
irresistible to women. They bet he can kiss Dorothy 
Lamour, dance-hall singer, who loathes sailors, 
which leads to many complications. With Eddie 
Bracken, Betty Hutton, Leif Erikson and Jimmy 
Dorsey's orchestra. (April) 

FLY BY A'/C;//?'— Paramount: Richard Carlson 
has to escajie the law because he's accused of mur- 
der, so he forces artist Nancv Kelly to accompany 
him so she won't .sketch his picture and reveal him 
to the police, Xhe result is plenty of trouble and 
several . harrowing escapes. ' Albert Basserman and 
Martin Kosleck carry important roles. (June) 

FOUR JACKS AND A //LL— RKO-Radio: This 
old story provides a mediocre background for the 
dancing of Ray Bolger, the clowning of Eddie Foy, 
Jr., and the singing of June Havoc. Anne Shirley, 
through a fake publicity stunt, secures a good job 
for night-club musicians Holger, Foy, Jack Briggs 
and William Blees, and cabdriver Desi Arnaz helps 
the hoax along. (April) 

FRISCO LIL — Universal: Irene Hervey goes to 
work for a gambling club in order to help her ol' 
gambling daddy. Minor Watson, hut thi alienates 
the family of her fiance, Kent Taylor, who are the 
leaders of a reform organization. (May) 

GENTLEMAN AFTER DARK, /J— Small-U.A.: 
Gentleman crook Brian Donlevy surrenders to Pres- 
ton Foster on condition that Foster adopt his baby. 
So far so good, but when the baby's mother, Miriam 
Hopkins, and her partner in crime, Philip Reed, at- 
tempt to ruin the girl's happiness. Donlevy breaks 
out of prison to stop them. Miss Hopkins is splendid 
as the awful mother, but the story doesn't matter 
much. (June) 

GENTLEMAN AT HEART. ^— 20th Century- 
Fox: Cesar Romero, clever, money -making bookie, 
tries to enter the world of art because he's fallen 
for Carole Landis, who runs an art dealer's shop. 
His endeavors lead to a lot of laughs. Milton Berle 
gives his characteristic performance as Romero's 
chiseling associate and J. Carrol Naish, a painter 
who copies masterpieces, is very funny. 

GHOST OF FRANKENSTEIN. T//£— Univer- 
sal: It .seems the monster is still alive, this time 
played by I.on Chaney, so Sir Cedric Hardwicke 
decides to give him a nice, kind new brain, but 



See Irene Dunne in "LADY IN A JAM/' a Universal Picture 




JULY. 1942 



21 



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fresh for hours. Use Mavis lavishly. 



every day. Buy Mavis today ... at 
all cosmetic counters. 




Dr. Dafoes 
New Baby Book 

Yours . . . Practically as a Gift 

Here it Is mothers— the book you've always wanted — 
and it's yours practically as a gift. In this new book. 
How to Raise Your Baby, Dr. Allan Roy Dafoe gives 
you the very help you've always wanted. This world- 
famous doctor answers the problems that face you daily. 
He discusses breast feeding-bottle feeding — first solid 
foods — toilet training — how fast your child should grow 
— new facts about sunshine and vitamins — summer 
complaints — sensible clothing — diarrhea — jaundice — In- 
fection — nervous children — skinny children. 
While they last you can get your copy of this big, new 
book entitled Hoio to Raise Your Bobv for only 25c — 
and we pay the postage. Mail order TODAY. 

BARTHOLOMEW HOUSE, Inc., Dept. PM-7 
20S East 42nd Street, New York, New York 



after a double-cross he gets the sly brain of Bela 
I-uKosi, so things arc just as bad as before. Ralph 
Bellamy and Evelyn Ankers are romantic, even 
with all the weird goings-on. (June) 

GOLD RUSH, T//£— Chaplin: A must for 
everyone is this re-issue of Chaplin's never-tobe- 
for^ottcn comedy. The narration takes the place of 
the subtitles, and those who laughed and wept at the 
silent version will find its emotion-stirring qualities 
as lively as ever, and the adventures of the little 
tramp in the gold-mad Klondike as appealing as 
ever. (June) 

\/^ GREAT MAN'S LADY, T//£— Paramount : 
Barbara Stanwyck does a wonderful job as the very 
old lady who reveals to a young biographer the story 
of her part in the life history of a great senator, 
Joel McCrea, from the time of her elopement with 
him. McCrea is very good as the weakling molded 
into a great man by a greater woman, and Brian 
Donlevy is the strong man in her life. (June) 

\/;\/' INVADERS. r//£— Columbia : An impres- 
sive masterpiece, this story of seven Nazis stranded 
on Canadian soil. The performances of I.e<ilie 
Howard as a vacationing author, Laurence Olivier, 
a French-C^anadian trapper, and Raymond Massey, 
a Canadian soldier, are outstanding. But equally 
fine are Niall MacGinnis, Eric Portraan and Glynis 
Johns. (May) 

\/' IT STARTED WITH £F£— Universal: By 
all odds Durbin's best picture, this has her as a 
hat-check girl who pinch-hits for Robert Cumming's 
fiancee, since his dying father, Charles Laughton, 
demands to see the girl his son will marry. But 
Laughton's so pleased with her that he proceeds to 
get well, which causes no end of difficulties. (May) 

JAIL HOUSE BLC/fij'— Universal: Nat Pendle- 
ton, who has been pardoned from prison, refuses 
to leave because he wants to remain in stir to pro- 
duce the big prison show, but when Ralf Harolde 
escapes, Nat goes after him and meets Anne 
Gwynne and singer Robert Paige. 

✓ JOE SMITH, AMERICAN— MG-M: Robert 
Young, an average American working in a de- 
fense plant, is kidnaped by enemy agents and tor- 
tured to reveal details of a bomb sight. How he 
lives up to his patriotic ideals makes a fine, con- 
vincing film. Marsha Hunt as his wife, and Darryl 
Hickman as their son, are very good. (April) 

y}/ JUNGLE BOOK—KorAa: A pageantry of 
sound and color and beauty, with Sabu as the boy 
raised by wolves who is forced by the tiger to take 
refuge in a small village. There he finds his real 
mother, Rosemary de Camp, but when the greedy 
men of the village learn he guards the secret of 
hidden treasures they force him back to the jungle. 
It's novel and delightfully fantastic entertainment. 
(June) 

\/ KID GLOVE KILLER— U-G-U: Intelligent 
writing, acting, and directing combine to make this 
B picture one to shout about. \'an Heflin as the 
scientific crime detective, Lee Bowinan his friend 
and a killer who places a bomb in the reform 
mayor's car, and Marsha Hunt as the girl who 
almost marries Bowman, are all excellent. (June) 

\/^\/^ KINGS ROW— Warners: Here is a superb 
drama, telling the story of five children from their 
schooldays to adulthood. Ronald Reagan is the town 
sport who loves Nancy Coleman, daughter of 
sadistic doctor Charles Coburn. Ann Sheridan is 
the girl who loves Reagan and Robert Cummings 
is the psychiatrist who is Reagan's friend. All 
performances are terrific. (May) 

KLONDIKE FURY— Monogram: This is the same 
old story of a doctor, Edmund Lowe, who loses a 
patient while operating, flees the whole mess like a 
weakling, then is faced with the same operation in a 
new environment. Bill Henry is an embittered 
cripple, Lucile Fairbanks his sw-eetheart, and Ralph 
Morgan a backwoods M.D, (June) 

LADY FOR A A'/CHT— Republic: Above all else, 
Joan Blondell, who runs a gambling boat, wants to 
become a lady of Southern gentility, so she forces 
Ray Middleton to marry her and steps right into un- 
happiness. John Wayne as the real hero, Middleton, 
Blanche Yurka and Edith Barrett are very good, 
but the picture isn't. (April) 

LADY HAS PLANS. THH— Paramount : Comedy, 
drama and romance, with Paulette Goddard as an 
American radio war correspondent who is mis- 
taken for a spy who has secret plans tattooed on 
her back. Ray Milland is a news correspondent. 
Hilariously funny. (April) 

LADY IS WILLING, THfi— Columbia: A tired 
story of an actress, Marlene Dietrich, who finds a 
baby and subsequently marries a baby specialist. 
Fred MacMurray, for two reasons; in order to have 
the husband required by law for legal adoption, and 
because a doctor will be handy. (April) 

LARCENY, /A'C— Warners: Eddie Robinson, 
Broderick Crawford and Edward Brophy open up a 
store ne.\t to a bank as a front and then start tun- 
nelling under to the vaults. But they become so 
fascinated by their success as legitimate business 
men that they decide to give up robbing the bank, 
until .Anthony Quinn, a pal from prison, decides 
otherwise. With Jane Wyman and Jack Carson. 
(J une) 



V^y .MALE ANIMAL. THE— Warners: A man- 
sized panic, this hilarious comedy of an English 
professor, Henry Fonda, his beautiful wife, Olivia 
de Havilland, and Jack Carson, ex-football player 
who returns to the college and almost breaks up 
Fonda's happy home. Besides this problem, Fonda 
almost get dismissed from college because he's ac- 
cused of being a Red. Joan Leslie and Herbert 
-Anderson add to the fun. (June) 

MAN WHO RETURNED TO LIFE, THE— 
Columbia: John Howard is the high-minded hero 
who after escaping a murder charge by fleeing to 
California, learns that the man who sought his life 
is now himself accused of murdering Howard and 
treks all the way back to aid his enemy. It's all 
pretty boring. (May) 

MAN WITH TWO /./F£5— Monogram: Ed- 
ward Norris, following an accident, awakens from 
a deathlike stupor to be possessed with the soul of 
a gangster who was executed at the time of Nor- 
ris's lapse from consciousness, and takes over the 
gangster's activities and his girl, to the horror of 
everyone concerned. It's finally all explained as 
being a nightmare, but really, after all! (June) 

MAYOR OF 44th STREET, T//E—RKO Radio: 
In order to aid former racketeer Richard Barthel- 
mess. George Murphy takes him into bis business 
as agent for dance bands. Anne Shirley looks lovely 
but she's not at home in her role as hoofer assistant 
to Mr. Murphy. (May) 

MISTER K— Edward Small-U.A.: Leslie 
Howard plays the modem Pimpernel, who liberates 
artists, scientists and great men held in Nazi power. 
The story has a tendency to lag in spots but it's 
an interesting and thrilling picture. Sir. Howard 
and Francis Sullivan, as head of the Gestapo, give 
brilliant performances. (May) 

y MR. BUG GOES TO TOWN— Paramount: 
For sheer delightful novelty, this story of insect 
life takes the prize. There's Hoppity, the hero 
grasshopper, his girl friend. Honey, plus many 
other beautiful characters. (May) 

yy MY FAVORITE BLONDE— Paramount: 
The howl of the month is this riotous farce in which 
British agent Madeleine Carroll, who's pursued by 
Nazi agents, takes refuge with vaudevillian Bob 
Hope and accompanies him West. You never saw- 
such a procession of mixups as these two get in and 
out of; it would take your breath away if you 
weren't using it for laughter. (June) 

NIGHT BEFORE THE DIVORCE. THE— 20th 
Century-Fox: Joseph Allen Jr. grows tired of his 
superior wife, Lynn Bari, so turns for comfort 
to blonde charmer Mary Beth Hughes. Then Nils 
Asther steps into the fray only to get killed. What 
a waste of a fine actor like .Asther! (May) 

y NIGHT OF JANUARY 16TH. THE— Para- 
mount: Secretary Ellen Drew is accused of murder- 
ing her boss, Nils .Asther, until Robert PrestoQ 
comes to her rescue. Well acted, directed and writ- 
ten, it's a good movie. 

NO HANDS ON THE CLOCK— Paramount: 
Chester Morris is a private detective honeymooning 
with Jean Parker in Reno when the son of a wealthy 
rancher disappears, and Jean eggs Chester on to 
take the case. Halfway through, she wishes she 
hadn't been so persuasive, what with all the Reno- 
vated widows who clutter up the story. Dick Pur- 
cell, .Astrid .Allwyn and Rose Hobart round up 
the cast. (June) 

NORTH OF THE KLONDIKE— Vniversa]: 
Here is the best screen fight you've seen in many 
a day. It takes place between Brod Crawford, hero 
mining engineer who invades a community in 
Alaska, and Lon Chaney Jr., the villain of the 
place. Comedy honors are stolen by Willie Fung 
and Keye Luke. (April) 

PACIFIC BLACKOUT— Paramount: Robert Pres- 
ton, inventor of an aircraft rangefinder, is framed 
by secret Nazi official Philip Merivale and Eva 
Gabor and convicted on a murder charge. But he 
escapes and Martha O'DriscoU helps him locate 
saboteurs. Lots of get-up-and-go about it. (.April) 

PARDON MY STRIPES— RepuhWc: Newspaper 
reporter Sheila Ryan so befuddles football player 
Bill Henry who is now working for gangster Harold 
Huber that he accidentally loses a bag of money 
out of a train window and it falls into a prison 
yard. When prosecuted, he goes to prison and 
tries to find the money. 

yy REAP THE WILD »^/.VD— Paramount: 
Another (Tecil B. DeMille thrill-packed, rip-snort- 
ing adventure story of ships and men and women 
of the lS40's. In Key West, Paulette Goddard 
meets John Wayne, captain of a wrecked vessel, 
and falls in love with him. In Charleston she 
meets Ray Milland, attorney for Wayne's shipping 
company. The rivalry between the two men 
results in a thrilling climax. (May) 

y REMARKABLE ANDREW. THE — Para- 
mount: William Holden is the small-town boy who 
fights the town's politicians. When his predicament 
becomes too involved, the ghost of his hero, Andrew 
Jackson, comes to his rescue and summons George 
Washington, "Thomas Jefferson and other heroes to 
assist him. Ellen Drew is the girl who stands by 
Holden. (April) 

(Continued on page 101) 



22 



PHOTOPLAY combined ifith movie mirror 




i rich colors at your favorite ribbon counter. 

STARK BROTHERS RIBBON CO. • NEW YORK, N. Y. 



LET ARTHUR MURRAY SHOW YOU 

The Latest Dance Steps 



{^Continued from page 4) hit, Katie 
Hepburn got "Woman Of The Year" 
written just for her . . . she sold that to 
' M-G-M at a terrific figure . . . scored 
; another hit . . . and knew she'd dis- 
j covered the right pattern for herself 
' ... so she got still another stoi-y 
i written around her own talents . . . 
\ and this one she owns a quarter of 
I ^. . . twenty-three percent to be exact 
' ... it's called "Without Love" . . . 
Katie has been cleaning up on the 
road with it . . . heading it, naturally, 
I toward Broadway and then toward 
I movies . . .. and all the time, all her 
i business shrewdness staying so com- 
pletely glamorous and feminine that 
[ one Hollywood gentleman can barely 
1 eat his meals, troubled as he is with 
I thoughts of love for her (and we don't 

mean Garson Kanin). . . . 
I Maureen O'Sullivan, with her love- 
ly, gentle beauty, is a very different 
type . . . for Maureen is and has been 
ever since the first day she met John 
Farrow a woman in love . . . and 
you will probably remember that from 
the day that England entered the war, 
John Farrow has been in service until 
just a month or so ago when his ill 
health forced him to retire from active 
j duty. . . . 

During all this time Maureen was 
no "movie wife" . . . she did a few 
pictures because there wasn't enough 
1^ ' income from Johnny's war salary to 
! .. support all three of them, John and 
]■ Maureen and their baby . . . but the 
' moment she was free of a picture, she 
; flew to Canada to spend whatever 
I time she had with John. . . . 

Then John, very ill, came back to 
I Hollywood and Maureen went with 
J _ him down to the desert to nurse him 
j back to health . . . she never gave her 
career a glance during that interval 
... but today John is well enough to 
be directing "Wake Island" ... so a 
happy Maureen goes beaming about 
Hollywood . . . Sol Lesser having 
bought the right to the "Tarzan" sto- 
ries and intending to produce them 
with Johnny Weissmuller and little 
i Johtmy Sheffield in their usual roles 
, wants Maureen, naturally, for Jane . . . 
j so Maureen has signed for just those 
' two pictures a year . . . enough income 
to protect herself and her baby if 
John gets strong enough to go back 
to service once more. . . . 

Ah, there are so many stories of 
j goofy Hollywood reactions to the war 
. . . swell stories like Metro's intend- 
ing to call "Joe Smith, American," by 
! a new title, "Highway To Freedom," 
j when they sent it to Australia . . . 
I but the Aussies cabled that they 
wanted the original title . . . because 
they love us and the American way 
down in Australia .... 

So that's Hollywood in wartime, 
sometimes wilful, sometimes wacky, 
but always and forever wonderful. 
The End 



Arthur Murray — the world famous dancer 
— has developed a new method of teaching 
people to dance. His wonderfully simple 
method is described and illustrated in the 
new ARTHUR MURRAY DANCE BOOK. 
This new method eliminates all non-es- 
sentials and difficult techniques. It reduces 
modern dancing to one simple step. Learn 
this step — and before you know it you'll 
enjoy the thrill of being a graceful, popular 
dancer. 

To introduce you to this famous new 
method. Mr. Murray is offering you his 
brand new dance book. In this remarkable 
book, the author tells you his famous secret 
of leading and folloioinp. He gives you the 



very pointers that make a dancer gain the 
admiration of his partner. And if you are 
not quite sure of the many courtesies of the 
dance, you can dismiss your fears as soon 
as you get this book. 

Here are over 30 photographs and dia- 
grams that show you exactly how to do the 
Waltz. Fox Trot. Rhumba. La Conga. Tango, 
Collegiate Dip. Shag and Lindy Hop and 
other popular dances. And the price of the 
ARTHUR MURRAY'S DANCE BOOK is 
amazingly small — only 25c and we pay the 
pKxstage. Send for your copy today. BAR- 
THOLOMEW HOUSE, INC., PM-7. 205 E. 
42nd St.. New York. N. Y. 



JULY. 1942 



23 




...More than a glamour-boy! ...More than a muscle-man! ...More than a cave man! 

AND ... he can do more with 

one glance than most stars 
can with ten pages of script! 



. . . star of "Grand Illusion" in his 





TYRONE POWER • JOAN fONTAINt 

'This Above All 



By ERIC KNIGHT 
Produced by DARRYL F. ZANUCK 
Directed by ANATOLE LITVAK 



24 



PHOTOPLAY CO;7lbillCd U'ltft MOVIE MIRROR 



I BUY UNITED STATES, 
WAR SAVINGS 
I BONDS AND STAMPS^ 



PHOTOPLfl]f 




E MIRROR 



Your War 



A 



TRUTH which is beginning to seep through into oux' 
consciousness has been recognized in England for 
more than a year as the revolution that it is. Wo- 
men are shattering the last shackles which have bound 
them. In the winning of this war which is consuming all 
effort and all dreams women are stepping into a new 
world. 

This becomes clear to anyone who listens to Anna 
Neagle, the golden bright star whose English film of 
Queen Victoria's life and whose American performances 
in "Nurse Edith Cavell," "Irene" and "Sunny" have given 
audiences many memorable moments. Miss Neagle had 
just touched American shores, after crossing the Atlantic 
on a troopship carrying hundreds of young men to 
Canada where they will be welded into an Empire scheme 
of training pilots. For eight months she had been in 
London and now she was in New York sitting in a pent- 
house flooded with late spring sunshine telling the story 
of women in war. 

In England 3,000,000 women are now in the uniform of 
the armed services. They are flying Spitfires, ferrying 
bombers to distant landing fields, standing by with ground 
crews to rush repairs, to speed refueling, to grease and 
overhaul oil-spattered engines of planes returning from 
combat. They are donning the hip boots and rubber 
jackets of the fire fighters, steering ambulances around 
the bomb-scarred streets of small English villages to 
bring help to the wounded. 

In millions of jobs there is no longer any distinction be- 
tween men and women, except that in many factories, 



efficiency tests are revealing an amazing fact: women on 
production lines often produce more goods per hour than 
the men they have replaced. 

In England, 3,000,000 women in uniform — in America, 
by the year's end, 6,000,000 women in war factories; 500,000 
women on farms reaping harvests, sewing crops, tending 
herds. 

Ah-eady you have seen telegraph company caps perched 
on the curls of girl messengers, elevators operated by 
women, buses run by feminine drivers, even taxicabs 
operated by women. 

IN HOLLYWOOD producers begin to cast all-women 
films. Joan Crawford succeeds in persuading Metro to 
allow her an opportunity to direct a short and — if success- 
ful — a feature-length film, so that eventually her contract 
will have her working one-third as actress and two-thirds 
as director. 

Soon you will see Lana Turner, Joan Bennett, Hedy 
Lamarr in parts calling for them to do men's jobs, so that 
gradually the idea of women's working on an equal footing 
with men will not seem so strange. For Hollywood is the 
great teacher, its blackboard a silver screen which seldom 
bores audiences that have paid for the privilege of being 
taught. 

There will be no turning back. When the war is won — 
and there can be no alternative no -matter what the agony 
— women must go on from this new position. They will 
bring forth the new generation, and will share equally in 
its destinies. 




JULY. 1942 



25 




26 



PHOTOPLAY combiJied with movie mirror 



She married Edward Judson for 
a powerful reason. It's the same 
one that's causing their divorce 




BACK in the lazy early Thirties, 
when you could still do such 
things, I went one afternoon to 
the Inn at Caliente for late lunch. You 
could sit there in the patio, basking in 
the hot Baja California sun, sipping 
red wine and watching the small grey 
desert doves hopping about after 
crumbs; also sometimes the enter- 
tainers who lived and worked at the 
hotel would come in for a drink, look- 
ing quite ordinary and not at all like 
the glittering figures they would be 
after dark. I did not even recognize 
the Cansinos that day — The Dancing 
Cansinos, Eduardo and his daughter 
Marguerita — until a man at the next 
table pointed them out to his com- 
panion. 

"She's veiy young, but she has the 
figure already," he said. "You see, 
there by the fountain. Stay tonight 
and watch them. Someday she may 
be great, so the critics say. . . ." 

Just a few days ago, when I read 
that Rita Hayworth was divorcing her 
graying, oil-man husband, Edward 
Judson, the picture of Rita as she was 
that afternoon at Caliente flashed into 
my mind; a dark, Spanish-looking, 
overdressed girl with black hair 
growing close over the temples, a 
mouth too wide for beauty. Not a 




The Story of A Daring Fight for Freedom 

BY mhm PAHKER 



pretty girl, but exciting somehow. 
She had sat with her father, listening 
when he spoke, nodding, sometimes 
answering. But her eyes, eager and a 
little wistful, were more interested in 
the people around her. 

I remembered, too, the next time I 
had seen Marguerita Cansino, in 1940 
when her new success had reached its 
first peak and everyone was saying, 
"Get a load of that Hayworth woman 
— she's out of this world." We were 
a group of photographers and writers, 
come to the Colonial house in West- 
wood that Eddie had just built for her. 
She was late, but Judson kept us 
amused until she came downstairs, 
finally. 

The last visible trace of Marguerita 
Cansino, the Caliente entertainer, was 
gone. Here was a stunning girl, wear- 
ing one of those expensively simple 
black dresses that seem to hide, while 
subtly revealing, the body beneath. 
Her skin, almost swarthy that other 
time, was golden now; her hair was 
auburn and it no longer grew over her 
temples — the line of her forehead was 
widened, changing the entire struc- 
ture of her face. 

She went directly to Judson, like a 
child presenting herself for inspection. 
"All right?" she asked. 



He considered her for a moment, 
from head to foot. Then, smiling, he 
pointed at the jeweled clasp she had 
pinned at the low V of the dress. 
"That belongs over there," he told her, 
indicating where. She changed it 
immediately. "Now you are perfect," 
he added. "We can begin." 

The photographers reached for their 
equipment, and we began. 

WHEN Rita Hayworth said good- 
by to Ed Judson a few weeks 
ago she was taking, at long last, the 
final step on her pathway to freedom, 
a road she chose long ago. Eduardo 
Cansino, a Latin and a good Catholic, 
had reared his daughter in the oldest 
of Spanish traditions. He had pro- 
vided her with a duenna so that she 
might never go about unaccompanied, 
unwatched. He had refused her per- 
mission, when she was through with 
childhood, to accept invitations from 
or make engagements with men, even 
boys of her own age. He had de- 
cided that she would be a dancer, had 
taught her to dance, and there it was. 

She married Ed Judson when she 
was seventeen, because she believed 
she loved him but also because, al- 
though he was more than twice as old 
as she, he offered a means of escape, 



JULY. 1942 



27 



a key to the freedom she must have. 
But she wanted more than free- 
dom. She wanted stardom in Hol- 
lywood for herself. Eddie was rich, 
indulgent and shrewd. He made her 
a star. 

In the process he lost her. There 
may be some men who can essay to 
be husband, lover, business manager 
and adviser to a young, passionately 
individualistic girl and succeed in 
each undertaking, but Judson did not. 
He grew, perhaps, to think of Rita in 
terms of a property, to be improved 




Cameras click on sight of Rita Hay- 
worfh, who in Fox's "My Gal Sal" 
has everything Hollywood wants 

and guarded constantly; but that, in 
a sense, had been Eduardo Cansino's 
attitude toward his daughter, too. This 
is not to say that Eddie forgot to love 
his wife. 

The important thing is that she has 
made her escape from what she has 
always believed was domination, but 
which has been called by another 
name, "guidance," if you like. She 
believes she is ready to try it on her 
own, now after all the years of obey- 
ing first one man, then a second; of 
not being able to choose her own 



clothes or the location of her eve- 
ning's entertainment, or decide how 
she would work, or for whom, or for 
how much. 

Is she ready for such a responsi- 
bility, after all? 

But then you must know her story, 
of coui'se, before you can consider the 
problem that is hers and her studio's 
today. 

HER mother was an English stage 
actress, born in Washington, 
D. C, but her father was the third 
generation of Cansinos and this dis- 
tinction meant much to him. Had his 
daughter bloomed in old Seville she 
could not have been better protected 
from contact vidth the things every 
girl should know, particularly about 
men. 

Edward Judson, in his forties, was 
a man who had seen much of the 
world, lived more than his share in 
the years of his time. In that time he 
had been the husband of Hazel Forbes, 
who was a Follies beauty of enormous 
sophistication and rare experience. 
Now he wanted fresh, unspoiled beau- 
ty, the eager arms and lips of a girl 
who had given her arms and lips to 
no one else, ever. 

He had seen what most women 
make of themselves. He wanted a 
wife he could mold, secure in a pat- 
tern of his own choosing. 

In return he offered seciu'ity, affec- 
tion, a fine home with servants, the 
jewels and furs and luxuries that 
money can buy. 

To Rita, this seemed what she 
wanted most of all. Here was the 
Great Adventure, the chance to break 
away and be a real, grown-up mar- 
ried lady, with a home of her own and 
her own man to love and protect her. 
With all this, she could have what she 
had been taught was utterly neces- 
sary: sanctified respectability. 

If freedom she must have — and she 
wanted it desperately — then she must 
marry to get it. 

In her seventeen-year-old way she 
loved Edward Judson. He held 
glamour for her. He had been about 
the world, he treated her with suave, 
worldly courtesy and restraint. 

And for all her enforced seclusion 
little Rita had a certain, if theoretical, 
knowledge of romance by the time she 
was introduced to him, since she had 
come with, her parents to Hollywood, 
had done some extra work and had 
even been considered for the title 
role in "Ramona." Darryl Zanuck 
took over Twentieth Century-Fox 
just then and chose Loretta Young in- 
stead, whereupon Rita, gathering her 
courage around her, changed her 
name to Hayworth and contracted to 
do leads in quickies. Each one took 
three days to make and paid her S150 
apiece, but the experience they gave 



her was a greater remittance. 

She was able to recognize in Eddie, 
you see, the qualities she knew were 
important to an ambitious youngster 
so ill-prepared for the Hollywood 
challenge as herself. He was wise 
and shrewd, and not busy with a 
career of his own. He had taste, and 
a knowledge of showmanship, a criti- 
cal sense about women's clothes. He 
was rich enough to give her what she 
wanted, so that during the years 
necessary to get where she was going 
she need not worry about food or rent. 
And finally, he understood about her 
great desire to become an actress, ap- 
proved of it, wanted to help. "I've 
done everything I wanted to do," he 
told her during one of their evening 
drives that first month of their court- 
ship, "and I'd be selfish to insist that 
you give up your career when you 
may amount to something." 

They knew they were in love, by 
then. He had waited a week after their 
first date before asking her dancing 
again, but because he was who he was, 
and what he was, Rita's father made 
no objection when the engagements 
grew more frequent. Eddie showed 
Rita things she had never seen before 
— the fights, the tennis matches, the 
smart clubs; and he took her to con- 
certs, to art exhibits, to museums. 

In him she recognized a different 
kind of love from the self-centered, 
egotistic passion a boy of her own 
age would have offered. He was 
sensible primarily of her emotions and 
feeUngs, thoughtfiil of her whims and 
moods; he was lover and counselor 
and teacher, all in one. He saw her 
as she could one day be, a lovely, 
accomplished, distinguished creature. 
She needed confidence in herself, a 
guiding hand to give her a sense of 
authority. 

THESE things he could do for her. 
There was, of course, another mat- 
ter to consider. He was middle-aged, 
she was still the embodiment of youth, 
as sparkling and fresh as a first spring 
morning. 

She did not care. She had lived 
always in adult company, and she had 
never had another beau with whom 
to compare Eddie. She knew nothing 
of the sharp high beauty or stormy 
impulse intrinsic in the love of youth 
with youth. 

So, one day when she drove him to 
the station to catch a train for New 
York, he asked her to marry him: 
and as he swung aboard she shouted 
after him, "Yes!" She told her family 
that night, refuting all their protests 
and arguments with a simple state- 
ment that she knew what she was 
about, that her mind was made up: 
and on the day he returned she drove 
by his house, sounded her horn, and. 
when he came {Continued on page 76) 



28 



PHOTOPLAY combined with movix mirror 



The true story behind 




THE mm[ m of lew \\m 



These facts migEit never fiave been revealed; but you, 
our readers, have asked for the challenging truth 

BY ilDELE WHITELY FLETCHER 



Every year in Lew Ayres's past 
had been an unconscious prepara- 
tion for what happened to him in 
"All Quiet On The Western Front" 



LEW AYRES refused to fight for his 
country. 
' He went to the Oregon camp 
for Conchies (conscientious objectors) 
where he will clear brush and fell 
trees and cut fire tracks until the end 
of the war — unless he's transferred to 
the Medical Corps. 

Doing this Lew risked many things. 
He risked the smiles of the pretty 
girls which he loves well, the respect 
of his friends and coworkers, his 
motion-picture stardom and the for- 
tune it represents to him. 

These aren't things anyone risks 
lightly. 

Quietly, Lew explained his stand. 

"No one really wants war . . ." he 
said. "And it's my opinion we never 
will stop wars until we individually 



JULY, 1942 



cease fighting them and that's what I 
propose to do. I propose we proclaim 
a moratorium on all presumed debts 
of evil done us, that we start afresh 
by wiping the slate clean and con- 
tinuing to wipe it clean . . . 

"I believe in nonresistance to 
evil . . . 

"I believe we cannot live in Utopia 
without first becoming Utopian . . ." 

Ten years ago or more it might 
have been understandable for Lew 
to think in such terms, but not today. 
For ten years and more we of the 
democracies practiced nonresistance to 
evil. Unwilling to turn the earth and 
the sky and the sea into a battlefield, 
we gave the Axis powers their ag- 
gressive way. They murdered, indi- 
vidually and {Continued on page 81) 

29 




. . . can make the final decision: How you stack 
up as a person against the little girl who knew 
what was wrong and a bigger girl 
who didn't — but found out just in time 

BY mm u. mu 

ILLUSTRATION BY JOHN J. FLOHERTY JR. 



ONE new and shining quarter. 
No more and no less. 
Betty glared at it, her face 
screwed up until she looked like a 
belligerent kitten. Which was all very 
well, but had no effect upon the quar- 
ter. It remained the only one of its 
kind on the premises, it was all there 
was, there wasn't any more. 

A three-cent stamp for her letter 
to Johnny. Ten cents each way on 
the bus to the studio. Even if she had 
got seventy in algebra, Betty knew 
that made twenty-three cents. 

The phone call from the studio had 
been pretty unexpected and there was 
always the fact that if she hadn't 
played hooky she wouldn't have 
been there to answer the phone. But 
school got so dumb and as long as 
she had been home, she ought to go. 
They were very nice at the studio 
because Dad used to work there. They 
gave Mom and Betty extra work 
whenever they thought about it, but 
they were pretty busy. When they 
saw you, it reminded them. Mom 
wouldn't ever amount to anything, she 
hated it, but Betty was pretty sure 
she had a future if she could just 
hurry up and develop so she could 
wear a sweater and look grown-up. 
There had been chipped beef again for 
dinner last night and the rent guy 
had been around twice, so Betty fig- 
ured it was time to remind them over 
at the studio again. The phone call 
made it easy. Except the twenty cents 
bus fare. 



Because there was this business 
about a Defense Stamp. Tomorrow 
was the last day and all the girls in 
her class had agreed they'd start a 
little book of them and bring them to 
class to show Miss Ames. Miss Ames, 
who wasn't too awful for a teacher, 
had started something when, very 
quietly, she had read them an edi- 
torial from a newspaper — just as if 
they were grownups. It had been 
called "On Me Alone" and it began 
with a quotation from the diary of 
Martin Treptow, who fell at Chateau 
Thierry in 1918: 

"America must win this war. There- 
fore I will work; I will save; I will 
sacrifice; I will endure; I will fight 
cheerfully and do my utmost, as if 
the whole struggle depended on me 
alone. . . ." 

After she had finished, the class- 
room had been very still. Then Miss 
Ames had said just five words: "This 
means — on you alone." 

When school was over for the 
day, the girls had got together and 
decided on their plan for a class 
Defense Stamp book. Miss Ames said 
it was a great idea and she knew 
they'd measure up a hundred percent. 
Naturally, if you were the one who 
spoiled that, you'd stand out like a 
sore thumb all right. Miss Ames said 
if they had to make some sacrifice, if 
they could earn the quarter them- 
selves, so much the better. . . . 

Of course the studio only wanted 
her for a still picture. She'd had three 



days' work weeks ago playing a 
couple of scenes where she was sup- 
posed to be Myrna Loy before Myrna 
grew up. Mom had had to take aU of 
that except the quarter. Of course if 
she mentioned it at the studio now, 
someone there would probably give 
her another quarter. But Mom might 
find out and she"d throw a fit, the way 
she did that time when she borrowed 
a dollar off Mickey Rooney. Mom had 
funny ideas; she said they mustn't 
ever let people in Hollywood know 
how broke they were since Daddy 
died, they must keep up a front. As 
though Rooney would tell! He was 
a good guy for an actor. So asking 
for a quarter back for expenses was 
out. Mom cried enough as it was. 

She did want to send her letter to 
Johnny. 

So you were supposed to buy a 
Defense Stamp. So what? 

BETTY sat on the rickety steps and 
regarded the ocean with a jaun- 
diced eye while she tried to make up 
her mind. The ocean looked swell 
again today. After the long rainy 
winter, when the mud sluiced down 
from the paUsades and made the 
waves yellow against the sand, after 
weeks when the gray clouds hung so 
low the sea mirrored that same color, 
it was grand to find it a deep, fi'iendly 
blue again. 

It meant that summer wasn't so 
very far away now. And summer 
from Santa {Continued cm page 32) 



30 



PHOTOPLAY combined with movie mirror 





Monica to Santa Barbara was heaven 
for kids — summer at Las Tunas was 
one hundred percent heaven for 
Betty. Wearing your bathing suit or 
your shorts all day long, swimming 
three or four times a day, tramping 
up in the hills after rabbits, lying on 
the sand in the hot sun and getting 
a swell tan, going up to Malibu with 
the other kids to play tennis, and she 
was getting pretty good, too, for four- 
teen. Even Johnny said so, and 
Johnny was super. 

They had all made a pact at the 
end of last summer. They would 
all come back, honest-to-goodness. 
Johnny's mother had carted him off 
to New York, and Bitsy's father was a 
doctor and he was always squawking 
about it was too far for a busy doctor, 
and Ted and Matthew's folks talked 
about sending them to a dude ranch 
for the summer, and Sally's folks had 
moved to San Diego because her 
father had a job in an airplane fac- 
tory. . . . 

But that was all winter stuff. It 
wasn't too important. Parents, after 
all, ought to think about their chil- 
dren and what was good for them, 
and they usually did if you kept at it 
long enough and hard enough and 
often enough. So they had all agreed 
to make their folks come back to 
Malibu no matter what. 

Of course Betty stayed there in the 
winter too and went to Santa Monica 
to school. Not exactly at Malibu. 
Malibu was beautiful and exclusive 

32 



A warm number, thought 
Betty, eyeing the girl in 
the car. You could tell 
because she wore so 
much lipstick and that 
sweater — the Hays 
Office would have some- 
thing to say if she ever 
wore it in a picture 



and filled with movie stars and direc- 
tors and writers who got big salaries. 
But Las Tunas was only a little way 
on your bike and Johnny was swell, 
too, about getting her in his mother's 
station wagon and bringing her home 
when they stayed late and cooked 
hot dogs on the beach. 

When they said good-by, they all 
hollered, "See you next summer for 
sure," and that was really the pact. 

Johnny had made his mother prom- 
ise all right and Johnny said his 
mother was a little screwy, being a 
writer, but she had never broken a 
promise. And Johnny sent Betty a 
picture of himself in his New York 
Military Academy uniform, which was 
super, too. His last letter, even, said, 
"I will be seeing you this summer at 
good old Malibu. I like it here a lot. 
I am on the rifle team which is okay, 
but I will sure be glad to see good old 
Malibu, you bet, love, Johnny." 

Now everything was changed. 
Everything was awful. 

The quarter in her hand felt sticky, 
she was clutching it so hard. 

Right out there in that ocean where 
they had been swimming every sum- 
mer since they were little kids, where 
they took their kayaks and went pad- 
dling clear out to the fishing barge, 
were submarines. Last summer, if 
you saw a stick coming out of the 
water with a flag on it, you knew it 
had drifted down from the "Yank In 
The R.A.F." location at Point Doane, 
and everybody raced through the 



water to get it first. This simimer — 
that was just around the corner — if 
you saw anything sticking up out of 
the water, it might be a submarine 
with some horrible, mean old Japs, 
who wanted to kill people and were 
spoiling everything. 

Last summer, when everything was 
simply super, they used to watch air- 
planes all the time, Johnny and the 
other kids got so they could identify 
them all and even Betty could teU 
the P-38 because it sort of had two 
tails, and once the B-19 flew over. A 
ferry pilot was stuck on Ailine's big 
sister, who was a sort of a dope but 
pretty, and he used to buzz back and 
forth on test flights and they all got 
to speak to {Continued on page 74) 



coios mm\] sekies 



^Lixuine ^t^iiij: Appearing in 

M-G-M's "Fingers At The 
Window" page 33 

''Jiltcnc iPc-wez: Appearing in 
Twentieth Century-Fox's 
"This Above AH" page 36 

^ ulct yllaliite: Appearing In 
Twentieth Century-Fox's 
"Footllght Serenade" page 36 

ui^m:: Appearing In 
Republic's "In Old Cali- 
fornia" page 37 

dc.uiT (f^cnict^: Appearing In 
Twentieth Century-Fox's 
"Orchestra Wife" page 37 

<=r^tcitc ^^Udiiic: Appearing in 
Unlversal's "Lady In A 

Jam page J/0 

PHOTOPLAY combined with movie mirrcii 



Should 



a man marry 



m^?^ — 

Ensign Wayne Mor- 
ris: He married 
on /a Navy salary 




So you hove your answer ready! Wait 
a minute — what these six stars say 
may change your wedding picture! 



SHOULD we marry before he goes to war?" 
That is the question Hollywood sweethearts, 
as well as sweethearts everywhere, are ask- 
ing. With long separations, unpredictable futures 
ven the inevitable possibility of tragedy 
stretching ahead — what is young love in Hollywood 
doing about marriage? 

The emotional urgency of war is great, the need 
of security, of a love to cling to, almost over- 
whelming. Can you be sure what is the best thing 
to do? 

Not until Jeffrey Lynn was making preparations 
to leave for Army duty would he talk freely about 
his ideas on marriage. One of Hollywood's few 
eligible bachelors, he has kept his friends, his 
studio and his public guessing about the status 
of his romances. At luncheon, while finishing 
"The Body Disappears," his last picture before 
leaving for Fort Moffet, he explained for the first 
time why he had never married and exactly how 
he felt about marrying now before he went into 
the Army. 

"I would be afraid to marry now," he said. "I 
am the kind of fellow who loves a home. For a 
long time I have wanted to get mariied. I was 
afraid to get married while I was working in mo- 
tion pictures. I would be even more afraid now. 

"To me marriage is the most important step I 
could make. I would do everything within my 
power to make my marriage a success. My wife, 
my home would always come first. Everything 
else would be secondary. 



Richard Travis, a "most 
called" Hollywoodlan, has 
mind all made up 



likely to be 
his marriage 
wouldn't hesitate 



34 




before going 



BY 

nmm 



"I have a one-tiack mind. I had to give every- 
thing I had to my career. I didn't dare risk 
jeopardizing my work by worrying how my wife 
might react to the way I did certain love scenes 
or see her put the wrong interpretation on pub- 
hcity stories over which I had no control. If 
anything I did hurt her, I would have to stop it. 
Until I had financial security, I did not dare inter- 
fere with my work. 

"By the same token, I know I would not make 
as good a soldier married as I will single. If I 
had a wife, I would count the days until I could 
return to her. I wouldn't be as ready to plunge 
into anything that came up. I would be inclined 
to spare myself. I wouldn't like the idea of leaving 
my wife for an unknown destination. 

"Ever since I was a boy working on the farm, 
and later when I worked my way through college, 
I have dreamed of going on a big adventure. I felt 
I could never settle down until I had had it, 
Perhaps war is to be that big adventure. 

"At any rate I have a job to do that will take 
everything I have to give. So again marriage must 
wait. 

"No, I would not marry before going to war.'" 

ENSIGN WAYNE MORRIS had served six 
months on the Navy Cadet Selection Board 
when he married a nonprofessional — nineteen- 
year- old Patricia O'Rourke from Georgia — and 
set up housekeeping in Long Beach, California. 
Easygoing and good- {Continued on page 68) 

The ideas of French Michele Morgan, 
who knows what war can mean, may 
make American girls stop and think 



Priscilla Lane, 
courted by two 
beaux, knows 
what she'd do 
if and when . . . 









Red and Edna in their Brent- 
wood back yard. They nnoved in 
because the house had a 
secret panel Red adored. 
Canine complements are 
Spats and Fella — there was 
always a dog, or maybe a 
duck, or maybe a bear or two 




Ueltofl 



He's rattling around here getting everybody rattled. 



THERE can be no story of Red 
Skelton without Edna. Red and 
Edna are as inseparable as cake 
and ice cream, mustard and hot dogs. 
They grew up togethei' from the time 
they were mere kids of fifteen and sev- 
enteen as man and wife. Edna s moth- 
ei\ Mrs. Stillwell. had finally said, "I 
can't stand that redheaded brat moon- 
ing around here any more! I give in." 
and had gone with them from Kansas 
City to St. Louis to give her consent 
to the ceremony. Red had no money. 
Edna loaned him the necessary three 
dollars and ui the ten years they've 
been married Red has made two pay- 
ments of one doUai- each on the loan. 
If she ever gets the last buck it will 
be a miracle, for Red is completely 
unmoney -conscious. He doesn't know 
anything about it and cares less. Edna 




\fl Hfll/y»rooi^ Uo%e\ 



But then, everybody loves Red, his dimples, his Edna, this story about hinn 



always has had to take care of all 
business deals when ther-e were any 
deals to take care of. 

He keeps bringing clowns home to 
lunch. "Who's this?" Edna will ask. 
"Honey," Red will explain, "he's that 
funny clown that rolled the people in 
the sawdust last night at Hagenbeck 
and Wallace's Circus. Remember how 
Cary Grant went into hysterics over 
him?" 

And Edna will welcome the clown 
and he will come in and sit there, the 
.saddest, most forlorn little man in 
the world. 

"Clowns," Red says, "aren't funny. 
They're very sad." 

Red should know. He was a clown 
himself with a top circus for two 
years when he was a ripe old four- 
teen or so. His father, who died be- 



fore Red was born, had been a clown 
all his life with Hagenbeck and Wal- 
lace's Circus. 

Today, Red is the clown of Metro- 
Goldwyn^Mayer, which you know if 
you saw "Whistling In The Dark" and 
"Ship Ahoy," among a number of 
others. Rowdy, noisy, genuine, he 
makes the Hollywood glamour boys 
look a little — well, honestly the word 
IS ridiculous. He doesn't mean to. 
He doesn't know he does, as a matter 
of fact. But you .see Red and Edna 
are what people are like when you 
peel off the veneer and get down to 
rock-bottom humanity. Red knows 
from nothing about Ciro's, or giving 
ultra parties (Red and Edna tried just 
once to give a dinner party, and boy, 
did it smell!), or jewelry, oi- mono- 
grammed chichis. or the froufrou 



that makes up so much of Hollywood's 
social life. 

He cari ies a coin purse. It's brown 
and opens at the top and rattles inside 
with dimes and things and Red loves 
it. Everything the carrying of a coin 
purse by a man represents — meekness, 
respectability, timidity, elders' meet- 
ings at the church, membership on 
the new fire hose committee — is a 
part of Red's character, which is won- 
derful, only you'd hardly expect to 
find it in a former circus clown, bur- 
lesque comedian and vaudeville actor. 
That's what's so confusing about it. 

Why, so help us, that goon is so 
hill-billyish he will have absolutely 
nothing to do with that newfangled 
invention called the telephone. 

"It clicks and makes noises, " he 
explains {Continued on page 70) 



\ 



Bv uiu iumm 



Red clowns to net a laugh. 
Near left, opposite page: A 
Skelton spread-eagle to the 
tune of "Keep your eye on 
boll and you'll never hit it" 



Left: He has an argument, 
splits the difference, wins 
palms up. Below: Good 
groundwork by Skelton, but 
he's a fall guy for anyone! 





Get into the game! All you have 
to do i$ look and listen while 
one of Hollywood's most reticent 
stars takes an "all in fun" beating 



CAME (ONDUCTOR-KU PROCTOR 



1. (Q) What personal achievement 
is the 'source of greatest satisfaction 
to you? 

(A) My memory game. If you write 
down thirty noims, numerically listed, 
I can repeat the entire list after study- 
ing it for a few seconds. I also can 
tell you what noun was number seven, 
ten, twenty-one, etc. 

2. (Q) What point of grooming do 
you consider most important in a 
woman? 

(A) Her shoes, because they have 
an important effect on her carriage 
and posture. They also are the mak- 
ing or breaking of the rest of her 
costume. 

3. (Q) What is your first reaction 
when fans do not recognize you? 

(A) If I'm very busy, frankly it is 
a relief. If I've got myself all done 
up and am stepping out when it hap- 
pens, I must confess I am a Uttle 
taken aback. You'd be surprised how 
often the latter happens. 

4. (9) Who was your first beau? 
(Irene took the consequences. 

Show us how you looked when you 
were trying to get a job as a school- 
teacher.) 

5. (9) What act of the past would 
you undo if you could? 

(A) The pinch I gave a little play- 

JVLY, 1942 



mate in Madison, Indiana. It turned 
her arm so black I was sure I had 
half-kiUed her and was scared to 
death. To this day I've never pinched 
anyone again. 

6. (Q) Do you have a quick temper? 

(A) Yes, and I suffer with it be- 
cause instead of flying off the handle 
and getting things out of my system, 
I try to rvm away from the scene. It 
leaves me boiling inside for hours. 

7. (Q) Is it true you have <a secret 
staircase in your house? 

(A) Yes. It goes from the living 
room to my bedroom, but I won't tell 
you why. However, it is not true I 
have "secret telephones in every 
room," as the driver of the sight- 
seeing bus informs his customers. I 
still haven't figured that one out. 

8. (Q) Where and how did you 
meet your husband, Dr. GrifRn? 

(A) On top of the Biltmore Hotel 
in New York City where we were 
guests at the same party. 

9. (Q) Has any one fear ever haunt- 
ed you? 

(A) I'm still afraid of traveling on 
water and do it under protest. That's 
a big help when Doctor is mad about 
boats! I think psychologically the fear 
came from my father, who was super- 
vising general (Continued on page 84) 




, "ever c 



41 



Dixie Willson, popular magazine contributor, knows nnovie studios from sound stage to prop 
department. She has written her latest book, "Hollywood Starlet," in response to overwhelming 
requests for factual information about opportunities in motion pictures. Published by Dodd, Mead 
and Company, it is the newest in their career book series. Now Photoplay-Movie Mirror brings you 
this vivid condensation giving the actual steps you would have to take in a conquest of Hollywood. 



AT twenty-seven minutes after ten o'clock on the 
night of February twelfth, an astonishing thing 
^ happened to little Gladstone, Ohio. The pre- 
ceding November, New York City's weekly "Top 
Topics" radio program had begun a national contest 
to discover the most beautiful and typical American 
girl. The winner was to receive the singularly exciting 
reward of a trip to Hollywood, there to be paid a 
real Hollywood salary for enacting the role of Miss 
America in a Warner Brothers feature picture to 
be called "Proud Pageant." Since the cast called for 
a Miss America, and since the studio wished the role 
actually to be taken by America's most beautiful and 
typical young lady, they had taken this means of 
finding her. 

Eighty thousand contenders had sent photographs 
to the "Top Topics" New York City offices, the contest 
scheduled to close on February the twelfth. One of 
the eighty thousand had been Julia Burns of Glad- 
stone, Ohio, who ushered in the Crystal Theater, 
whose plump, bald-headed dad owned the comer 
grocery and whose twin brother Johnny drove the 
grocery store delivery truck. 

Julia wore a dark, shoulder-length bob. Her eyes 
were a teasing blue-green and she had an enchanting 
little way of smiUng when you least expected it; 
definitely enchanting to six-foot Tod Jenkins, the 
sandy-haired chap who worked in the lumber yard. 
He had picked Julia Bums for his girl as long ago 
as high-school days. 

The Bums family lived in the good-looking house 



on High Street; the house with the old-fashioned 
veranda and the cupola. 

There was always work for Juha arovmd the 
theater in the morning; changing the advertising 
frames for the lobby, or writing up the show for the 
Gladstone Clarion. At noon Tod would stop by, in 
his brown suede work jacket, and walk down High 
Street with her, delivering her home for lunch. He 
didn't say much to anybody about what he thought 
of her, but the way he had devoted himself to Julia, 
exclusive of anyone else, said enough about his hopes 
for the future. 

On the night of February twelfth, the Crystal was 
packed to its doors. The "Top Topics" program was to 
be broadcast from the stage, although neither the 
town nor Julia Bums seriously thought she had a 
chance to win. 

But by twenty-seven minutes after ten o'clock, the 
amazed audience, along with four million other radio 
listeners, coast to coast, knew that the young lady 
about to journey to Hollywood, was Miss Julia Bums 
of Gladstone, Ohio! 

Sixty seconds later, half the town was crowding 
about the bewildered little usher, in her gold- 
trimmed, white broadcloth uniform, as flash bulbs 
surrounded her with spasmodic bursts of light. In 
thosB first breathless moments, trying to believe it, 
she found herself searching the Uttle sea of people 
for just one; for Tod Jenkins. She found herself 
thinking, even more than about what it would mean 
to her, what it would mean {Continued on page 44) 






As the train began to move, 
faces blurred together — Dad's, 
Mother's, Johnny's. But it was Tod's 
face that Julia saw last of all 



to him, that she would be leaving 
Gladstone . . . for Hollywood. 

She finally spotted him and he 
acknowledged her smile with the little 
salute he reserved just for her; the 
second finger of his left hand briefly 
touching his left eyebrow, but she 
had no chance to be with him, not even 
aftei-ward, for the Mayor and a dozen 
other town dignitaries followed the 
Burnses right along home. 

Her first chance to talk to him was 
the next morning when he stopped at 
the Burns's house on his way to work. 
Telegrams and telephone calls had 



been pouring in since six a. m. It was 
eight o'clock when Tod rang the door- 
bell. The February wind ruffled his 
hair, for he never wore a hat. Miss 
America herself responded. 

"Howdy, Beautiful," he said, and 
followed her into the parlor where 
Mrs. Bums was busy trying to make 
eight vases do for three times too 
many flowers. "No, I can't stay," he 
said, as Julia dislodged the cat from 
Tod's favorite chair. "I just wanted 
to know if I still have a date to shove 
you across town tomorrow night to 
the Vagabond Club shindig. I thought 
I'd better ask in case you're operating 
on a new schedule." 

"No cancellations on my calendar 
for tomorrow," Julia replied, her eyes 
looking squarely into his. "A new 
schedule for everything else, maybe 
. . . but not for my affections." 

AMONG the nash of morning wires, 
one had heralded the arrival, on 
the noon train, of Miss Bettina Proc- 
tor, the Warner Studios official rep- 
resentative, who had flown from 
Hollywood to Chicago by night plane. 

Mrs. Burns, a maturer edition of her 
daughter, wore morning hnen, her 
unbobbed dark hair done high in a 
figure eight. She was as slim as Julia 
and very nearly as pretty; as whim- 
sical as Johnny, as young as either of 
them and quite used to the unexpected 
maneuvers of both of them. But even 
Selinda Burns had to admit that, in 
the whirlwind morning just gone, she 
had lost claim to the reputation of 
being ready for anything! 

The family luncheon had been de- 
layed, pending Miss Proctor's arrival. 
In the dining room, with its mahogany 
sideboard, the table was set with the 
best doilies; Carrie, the hired girl, 
nervously hoping that cheese souffle, 
timbales of peas and peach dumplings 
would be good enough for somebody 
from HoDywood. 

As noon neared. Dad and Johnny 
came home from the store to put on 
their good clothes preparatory to 
meeting the distinguished guest at the 
depot. Julia, growing more nervous 
by the second, was to remain at home. 

The Miss Proctor she expected, was 
a devastating creature swathed in furs. 
The Miss Proctor whom the family 
sedan brought home, was a slim, 
laughing young person in a boyishly 
tailored coat and hat, who made her- 
self at home with the Burnses in less 
than five minutes, leaving Julia to 
wonder if it could be possible that 
Hollywood people were just people 
like other people! 

Along with Bettina Proctor had 
come an enormous corrugated box. 
After luncheon its contents were di- 
vulged. It was a wardrobe for Julia 
from the studio! A suit, an afternoon 
dress and an evening gown designed 



for her by Orry-Kelly who, for three 
weeks, had known that it was she 
who would be named Miss America, 
and from information upon the con- 
test blank, had known her exact color- 
ing and size. 

From between countless layers of 
tissue paper, a thrilled Julia Bums 
unpacked a black wool suit with a 
casual matching hat, a blouse of rus- 
set which, as she held it beneath her 
chin, filled her eyes with little golden 
lights she had never known were 
there. The afternoon gown was black 
wool crepe in slim straight lines, "in- 
foi-mal" length, the skirt softly draped, 
a "V" neck outlined in starched white 
eyelet embroidery. 

But with her first sight of the 
white chiffon evening gown delicately 
trimmed in gold, all the pent-up joy 
and thrill of the last twelve hours 
suddenly overflowed. Little Julia 
Burns, making a dive for her dad's 
shirt front, buried her face therein. 

"Now comes the advantage of hav- 
ing a twin," remarked Johnny, as Dad 
gently patted Julia's shoulder. "If Sis 
can't take it, I'll do a female imper- 
sonation and go in her place." 

"Probably what disturbs her," of- 
fered Mother, "is saying good-by to a 
certain young man named Jenkins." 

Nor was Mother far from wrong. 
All day Juha had found herself won- 
dering how Tod really felt about it. 

PERHAPS her thoughts winged 
across town to the lumber yard, or 
perhaps Tod's thoughts had wings of 
their own today. At any rate, the 
Bums telephone tinkled at three 
o'clock with Tod at the other end of 
the wire, inquiring if Julia would be 
interested in cooking breakfast to- 
morrow in Picnic Park. 

"I have a pretty important question 
to ask you," he added. 

Julia replied that she'd love break- 
fast in Picnic Park and instantly 
began to think what her answer was 
going to be, for of course she was 
perfectly sure what the question was. 
A week ago she wouldn't have had to 
consider. Now there was a new world 
to reckon with! 

But the next morning, over bacon, 
toasted buns, scrambled eggs, and cof- 
fee, in the PaviUion where they had 
cooked more breakfasts than either of 
them could remember, the lovely Miss 
Bums found out that she had been 
counting chickens which hadn't yet 
hatched! 

"About that question I wanted to 
ask you," Tod said, sei"ving Juha to 
strawberry jam, "I want to know if 
you'll do me a favor when you get to 
Hollywood. In the lumber business, 
I'm always fixing up deals for other 
people to make money, so I've decided 
to do a little contracting on my own. 
As soon as {Continued on page 90) 



44 



PHOTOPLAY combined with movie mirror 




Little girl with big business on hand 
is Joan Carroll, pet of the RKO lot, 
pet of the "Obliging Young Lady" cast, 
ractitioner here of the finer art of 
irst Aid in the Hollywood hair ribbon 
set. She equips herself with an identi- 
fication tag marked with her name, 
address and social security number, 
then learns how to stowaway with 
ease in a First Aid kit. Below: 
Teacher Harold Minniear comes to the 
aid of a first aider, while Joan 
squares things up with a square knot. 
The Carroll lady's motto: No kidding 
about kit stuff in our America today 



An eighieen-year-old who caught 
Orson Welles's eye: Anne Baxter 
of "The Magnificent Ambersons" 



]e's a guy's guy — a blond 
ind a bachelor: Van Heflin, 
new hero in "Tulip Time" 




Some pointers on the 
people Hollywood is now 
pointing to with pride 



BY UU HAMILTON 

PHOTOPLAY combined w\th movie mirhob 





SAILOR — Beware, Girls! 
Van Heflin, young M-G-M-er 
who is jarring fans to attention 
with his work in "H. M. Pulham, 
Esq.," "Johnny Eager" and "Grand 
Central Murder" is the upside-down 
cake on Hollywood's star pastry shelf. 
Van doesn't look like an actor or 
think like an actor; in fact, he hates 
acting with a man-sized loathing and 
yet is such a dam good craftsman 
there's nothing left to be done about 
it except — to act. 

He's just as good a sailor as actor, 
what's more, having sailed from one 
end of the world to the other as a 
hard-working crew member. He got 
the yearning for going bye-bye on 
boats when his family moved to Long 
Beach, California, from Oklahoma, 
where Van was bom. At the end of 
his first year at Long Beach Poly 
High (Laraine Day's alma mater) 
Van succumbed to the urge and 
shipped on a fishing schooner bound 
for Mexico. One more year of school 
and Van was off for Hawaii; the next 
summer he was South America boxmd; 

JULY, 1942 



and, after his graduation, European 
ports found our hero prowling around 
for dear life. 

After a year at the University of 
Oklahoma, the sea claimed him for 
two full years in which time Van 
raised a lot of Cain and stuff up the 
rivers of South America (get him to 
tell you about his nightmare haircut 
sometime) scaring natives into fits. 

In New York at last, he decided to 
call on sedate relatives and arrived 
unannounced, his sailor's kit flung 
over one shoulder, to discover a cock- 
tail party of smart people going full 
blast. It's like a movie, reaUy, this 
Van Heflin story. There he was a 
young kid about nineteen, raw and 
trusting, being kidded by a lot of 
snobbish hams who egged him on to 
singing his Oklahoma ditties. When 
one actor guest announced his deci- 
sion to turn down a part in the play 
"Mr. Money Penny" and suggested 
Van try for the part, the Oklahoma 
Kid thought he meant it, which nearly 
killed the actor. It practically finished 
the actor, though, when Van actually 



got the part. But there was the sea 
caUing, and once again Van set out 
on his roamings. 

His parents (his father is a dentist) 
finally persuaded their offspring to 
retum to college. Van once again 
enrolled at the University of Okla- 
homa. After graduation he took a 
year of drama at Yale and hasn't been 
back to sea since except as a guest 
on Errol Flynn's yacht, which isn't a 
bit like the engine-room crew's hang- 
out. 

Radio, stage, even movies at RKO 
followed, with Van playing with 
Katharine Hepburn in the movie 
"Woman Rebels." Later he played 
again with Hepburn in the stage pro- 
duction of "The Philadelphia Story," 
in the role that won Jimmy Stewart 
the Academy Award. A part in War- 
ners' "Santa Fe Trail" finally con- 
vinced him Hollywood and not the 
stage or the sea was his place. M-G-M 
decided the same thing and signed him 
to a long-term contract. 

One day as Van walked on the lot 
an actor (Continued on poge 87) 

47 





ml 



" I HOPE her next picture will be a flop!" 
I This was forthright Ann Sothem, 
' star of M-G-M's famous Maisie series, 
speaking about a Hollywood starlet who 
had zoomed abruptly to stunning success. 
Everyone was awfully shocked. "Why, 
Annie!" voices gasped. "Aren't you 
ashamed! I thought you were her friend! 
The very idea!" 

"I am her friend. I'm terribly fond of her 
and that's why I hope it," Ann afl&rmed 
stoutly. "I mean, I want her to have her 
discipline, get her perspective, learn how to 
handle all this before it goes too far and 
before she is really hurt. I ought to know. 
I've seen plenty of that sort of thing! 

"Look! She's had a break. All of a sud- 
den and without doing much, really, to earn 
it, she's famous. She's knee-deep in fan 
mail and her phone never stops ringing. 
The postman gets bowlegs carrying invi- 



her pop upr po*" V>e 



the one ^^.r^y^h^c^^ 



48 







tations to hei* door. If she doesn't find out 
what it's all about 'now and learn how to 
handle it — then she's going to be terribly 
hurt later on. That goes for girls in school, 
in show business, in offices . . . every- 
where. 

"Popularity is a grand thing and everybody 
wants it. But it can be dynamite if you 
don't learn how to handle it! Whenever 
I see a girl getting too popular too fast, 
I want to wave a red flag at her and yell, 
'Danger! Popularity ahead!' If she'd stop 
and look and listen it would save a lot of 
heartbreaks. 

"I went through a phase when I was in 
high school," Ann went on, "when I took 
myself so big. I thought I was so good. Oh, 
dear! I hate to think about it." But she was 
laughing. 

"It appears that I had some musical talent 
and first thing (Continued on page 89) 



BY urn mm walker 



How to moke your date garden grow 
— with not a raspberry in sight! 




.u-oW vou're P^^^^w^ch means. 
P ^:;We7s" ona ^Hev /°^U P^^V 

H?it;^trp?;"— 



O'Haro 



v*os 



de^er 
no^>ce 



minea 

a 



sWe-a s ov observers- Sh« 



° aea obser 
•»n*eres;ea 




49 



BORN in Tokio, Japan, the second 
daughter of a very British law- 
yer, who was also a gentleman 
and a scholar, and of a bright, laugh- 
ing woman who had been an opera 
singer, Joan Fontaine was a dreaming 
child, given to reading and illness. 

Olivia, her two-year-older sister, 
was always the more beautiful, the 
more popular, the more daring, even 
in the little town of Saratoga, Califor- 
nia, to which their mother moved with 
them after her divorce. When she re- 
married there, Joan took her step- 
father's name but she could not bear 
his discipline with the stout courage 
Olivia showed against it. Thus, at six- 
teen, she went back to the Orient to 



visit her father whom she had not seen 
since she was two. There she encoun- 
tered, not her first romance, but her 
first five romances, for she got simul- 
taneously engaged to five men. 

So snarled did she become in her 
engagements that she had to leave 
Tokio and, arriving home, she found 
Olivia already a movie star. She de- 
cided that she, too, wanted to be a 
star, so she joined Olivia in Hollywood 
but found only heartbreak and failure 
where Livvie had found such quick 
success. After making some dozen 
"quickies" under three different names, 
she finally bagged an RKO contract, 
only to be let out of that on the very 
night that Livvie was signed to play 



Melanie in "Gone With The Wind." 

Moreover, Livvie's romantic life 
was just as vivid as Joan's was drab. 
Liv had dozens of boy friends while 
Joan had only one, Conrad Nagel, 
whom she did not love. Nineteen, 
faced with professional and emotional 
failure, Joan felt the only way out for 
her was suicide. 

JUST as no love is ever so intense 
as one's first, unreasoning love, so 
no frustration is ever so devastating as 
the first, emotional one. Joan Fontaine 
was both ambitious and romantic and 
neither side of her nature was finding 
any expression in Hollywood. She 
longed to die. 



52 



PHOTOPLAY combined with movh mxsbob 




Joan always has fun with 
husband Brian Aherne, 
but when it connes to... 



Olivia departed for some gay party, 
dark, laughing Olivia, wrapped in iurs, 
in orchids and excitement, and, after 
she had gone, Joan walked from room 
to room in the small, exquisite house 
she shared with her sister and aban- 
doned herself to her sorrow. She 
plotted ways to kill herself, ways that 
would make her quite dead and yet 
leave her very pale, touching and 
beautiful when her fragile body would 
be discovered. There was no sound 
in the house to disturb her, no person 
present to wipe away her tears. She 
sobbed and choked, beating her 
clenched hands against her aristocratic 
blonde head. She visioned herself 
looking like (Continued on page 71) 

JULY, 1942 



53 




"No," said Mrs. Miniver help- 
essly. "I didn't nnean that, 
Clem. I — \'m all mixed up." 



Fiction version by MADELINE THOMPSON 



MRS. MINIVER kissed her hus- 
band lightly on the temple, 
just where his dark hair was 
turning a bit grey. 

"All right," Clem smiled, "now take 
off that fool hat and get to bed." 

Mrs. Miniver laughed. It was a fool 
hat. Now, it looked even sillier, top- 
ping off nothing but a nightgown. Back 
into its tissue paper nest went the hat 
and Mrs. Miniver got into her bed. 

"It's been a nice day," Mrs. Miniver 
sighed contentedly. She turned out 
the light. 'We're very lucky people, 
aren't we, Clem?" she asked softly. 

"Why, Kay?" Clem chuckled. "Be- 
cause of a new hat and a new car?" 

"Oh, much more than that," Mrs. 
Miniver said. "I mean because of Vin 
and Toby and Judy — and each 
other — " 



A Metro-Soldwyn-Mayer picture. Copy- 
righl 1942 by Loew's Inc. Screen play by 
Arthur Wimperis, George Froeschel, 
James Hilton and Claudine West. Based 
on the book by Jan Struther. Directed by 
Wm. Wyler. Produced by Sidney Franklin. 

Clem grunted sleepily and Mrs. 
Miniver knew it was no use talking to 
him any more. 

It had been a lovely day. There 
had been the trip to London, London 
with all its bustle and the rows of 
shops. And the hat! How she had 
fought against that temptation! But, 
all day, it had haunted her so she just 
had to go back for it, although it 
meant missing her train. 

Even that had had its compensa- 
tions. For, when she had finally got 
into a carriage, she had found the 
Vicar there. 

They'd had a fine laugh at their 
weaknesses, she with her irresistible 
hat and he with the cigars he couldn't 



afford. It had been very pleasant. 

Tioie, Lady Beldon had burst into 
the carriage, denouncing everything 
and everyone, merely because they 
were so hopelessly middle-class. Poor 
old Lady Beldon, Mrs. Miniver 
thought. She was so used to ruling 
Belham like a Uttle kingdom that it 
must be difficult for her to accept the 
changes that were taking place in 
England. 

In England? Mrs. Miniver smiled, 
wondering what Lady Beldon would 
say when Ballard entered his rose 
in the Flower Show. It was as tradi- 
tional for Lady Beldon's roses to win 
unchallenged as it was for the Beldon 
family to have authority. 

Ballard was a strange man for a 
station master, Mrs. Miniver thought. 
He was much more interested in his 



54 



PHOTOPLAY combined with movie mirror 



THE CAST 
Mrs. Miniver . .Greer Garson 

Clem Walter Pidgeon 

Carol Beldon 

Teresa Wright 

Lady Beldon 

Dame May Whitty 
Mr. Ballard. Henry Travers 
Yin Miniver . . . Richard Ney 
The Vicar. Henry Wilcoxon 
Toby. . . .Christopher Severn 
Judy Miniver .C\aire Sanders 
German. . Helmuth Dantine 



flowers than in trains. His pride in 
the rose he had shown her had been 
touching. But it was his asking her to 
allow him to call it the "Mrs. Miniver" 
that had really moved her — almost to 
tears. 

Such a nice day! She had had a 
rose named after her. And, when 
Clem had finally confessed his own 
extravagance in buying a new car, it 
had been so easy to tell him about a 
little thing like a hat. 

Lovingly, Mrs. Miniver bade fare- 
well to the ended day and turned to 
the coming one. It was going to be 
another rich, full day. For Vin was 
coming down from Oxford. 

As always, thinking of her eldest 
son filled her with a strange sense of 
wonder. She loved Judy and Toby, 
but it never {Continued on page 93) 

JULY. 1942 





Two top-notchers start work together. 




Madeleine Carroll and Stirling Hayden met in "Vir- 
ginia" as co-workers, fell in love as co-stars in 
"Bahama Passage," ended up in an intriguing dilemma 



"I WON'T take it," firmly said Mr. 
I McCrea. 

' Paramount had offered the lead 
to Joel McCrea in "I Married A 
Witch," co-starring Veronica Lake. 
The big idea was to make a really 
truly starring team of McCrea and 
Lake, who had co-starred in "SuUi- 
van's Travels," like Loy and Powell or 
Turner and Gable. But what Para- 
mount had neglected to find out was 
how the team of McCrea and Lake 
felt about each other. 

"We will put you on suspension 
unless you play the role," thimdered 
the Paramount officials, meaning no 
dough on the line for Joel for a fixed 
period of weeks. 

Mr. McCrea drew himself up to his 
complete six feet three and started 
walking out. "Money is not that im- 
portant to me," said he, with deep 
dignity, but meaning it. 

Thus it's Fredric March who is 
holding Veronica Lake in his arms 
these hot afternoons in HoUywood, but 



even agreeable Freddie is reported to 
consider it work and then some. 

Because, you see, little Miss One- 
Eye is very, very difficult. She has 
her ideas, does Veronica, and she 
likes to have a production revolve 
around her. For lads who have 
knocked around studios as long as 
Freddie and Joel this murders them. 
You see they, too, the silly things, 
feel they have a certain importance. 

The truth about co-stardom is that 
there are personalities who get along 
together like peas in a pod — both male 
and female teams and co-stars of the 
same sex — and there are also person- 
alities who are as palsy as a boy three 
sheets in the wind meeting a W.C.T.U. 
convention. 

When you get together those two 
beautiful hunks of people, Grable and 
Mature, you see on-screen heat and 
off-screen refrigeration. "I may have 
to make love to her in pictures," said 
Mr. Mature between his beautiful 
gritted teeth, "but I don't have to 



speak to her once the camera stops 
grinding." 

Mr. Mature's feeling of frost for 
Betty goes into icebergs with Carole 
Landis and Alice Faye as regards Mr. 
Raft's little chum. 

Carole Landis is a swell guy, who 
ordinarily gets along famously with 
people, and, as for Ahce, her male 
co-stars adore her. When Alice plays 
opposite Don Ameche the set rings 
with constant laughter. When she 
works with Ty Power, you see those 
two in eternal huddles of conversa- 
tion about everything under the arc 
fights. There is in Alice a simple, 
sensitive pathos that touches all men. 
She is almost humbly co-operative. 
She honestly doesn't consider herself 
much of an actress and is willing to 
give ground in any dramatic scene. 

Not so with Grable. Now that she is 
on top of the heap, she is paying off 
Hollywood for the bitter years it 
kicked her around and doesn't hesitate 
to lay down the law to the studio, the 



56 



PHOTOPLAY combined with movik mduior 



hat happens? Maybe a chilling cold shoulder — and maybe a blazing romance! 




set and any co-star, male or female. 
That technique is poison to the boys 
and girls in the close-ups. 

The exact opposite technique may 
be the secret of Gary Grant's success 
in playing with such varied person- 
aUties as Irene Dunne and Rosalind 
Russell. After one picture with Gary 
the girls cry for him, mainly be- 
cause he makes each one feel that she, 
not he, is the real star of the picture. 
There is nothing meek or fawning 
about Gary. He doesn't flirt with his 
leading ladies. He is a fine actor and 
is always in there punching his lines 
for all they are worth and more. 
Nevertheless he makes his co-stars 
feel more important and beautiful and 
besides he makes the girls laugh 
every moment. 

"I can come on a set feeUng low or 
nervous," Irene Dunne told Fearless, 
"and suddenly, just because Gary is 
around, I feel life is wonderful again. 
He's thought of a gag, or he tells a 
story, or he (ComXxnmd, on po^e 80) 

JULY, 1942 



Joel McCrea was to 
hold Veronica Lake 
in his co-starring 
arms in Paramount's 
"I Married A Witch" 
The gentleman said 
no; he'd had an in- 
side hinton Miss Lake 




Victor Mature and 
Betty Grable love 
each other, oh so 
very much, on screen. 
Off screen, it's ice- 
bergs, with Mature 
talking plainly be- 
tween gritted teeth 



57 




Pin Game 

This is pinning you down in a clever 
way. Open your jewelry box, take out 
any simple lapel pin. Then take two 
pieces of ribbon in any color scheme 
you fancy, cut one a little longer than 
the other, thread them through the 
back of the pin. What have you? A 
setup that one big professional model 
thought up aU by herself — a standout 
because the ribbon touch makes it 
different. 



BY Mm\ H. QUIKN 




1^ 




Refreshments 



Now's the time not to look jilted 
or you will be jilted. Take out that 
jacket dress that looks so tired from 
having seen you through last summer, 
bind it with contrasting ribbon, wear 
it for wartime fun and you'll look like 
all the models in a big fashion show 
who were wearing the newest fashion 
flair — ribbon-trimmed suits. 



Decorations 



Time for dancing! The decorations 
at any dance aren't the wallflowers, 
but the decorations of the light fan- 
tastic, which means that all eyes will 
be on shoes and all shoes will have the 
top-notch touch of ribbon. Resurrect 
those plain pumps you've been wear- 
ing with your suit, take some ribbon, 
make two pretty bows, sew them on — 
k.and we bet your conga will get more 
applause than a Broadway chorus. 

58 




DRAWINGS BY ZABETH LIGHTNER 




^ Parlor Trick 

This is more fun than pulling a 
dozen rabbits out of a hat. The trick 
'to this is that you pull a hat out of 
nothing! This game is played with a 
little snood — that one that's hanging 
in your closet will do. You take some 
ribbon, fasten the snood with it, dress 
it up with two perky ribbon bows in 
front — and presto, you have the smart 
hat Pat Morison is wearing on page 59. 




\£ Hrst 

i Prize 

^ Prize Surprise 

Ladies and gentlemen (they're in- 
terested, too) , here comes the big event 
of the party. This is a prize donated 
by the designer of Joan Crawford's 
hats. If you want something special 
to top things off, just do what he does 
— take horsehair, mold it into a be- 
coming shape, weave over the horse- 
hair with ribbon, tuck some ribbon 
beau-catchers in strategic places — 
and you have a hat a la Crawford. 




Any girl knows the effect of 
white against a summer brown; 
but when the dress is an Edith 
Head model of suede crepe 
with a plunging neckline, clev- 
erly pleated shoulders, a full 
skirt with two slit pockets and 
a big silver buckle as a flashing 
finish — well, just wear it and 
then watch out. It will turn 
you into as cute a trick as it 
does Pat Morison in the "Mr. 
And Mrs. Cugat" business 






You'll be poised, everyone ] 
else will ibe thrown off bal- ! 
qnce, if you wear aqua and ; 
watermelon pink as a star- 
light starrer. Patricia Mori- 
son's dinner dress of soft 
crepe catches every man's j 
eye who comes along; is a i 
wide-awake fashion with a 
dolman-sleeved jacket but-j 
toned up to the neckline and 
aqua crepe insets that put a ; 
lady right into the kind of ' 
limelight every lady wants: 



I 




• Gladys does stenography and typing for 
E. I. Dupont de Nemours (in the Empire State 
Building). Gladys wore this to work, just as 
pictured above. Analysis: Gladys's eyebrows 
are plucked too thin. Hair-do Is frowsy, con- 
ceals her well-shaped head and face. She 
mistakenly wears loose-fitting clothes because 
she thinks she "hasn't enough curves 
above and too much hip below" to wear 
more striking current fashions. See pictures 
of Gladys as she looks today after a session 
with Photoplay-Movie Mirror's Fashion Clinic 



• Eyebrows heavier but well-groomed, a 
pancake make-up film, light touch of mascara 
bring out Miss Olson's features. Sculptured 
curls, upswept sides and halo of curls at the 
back give Gladys sleek lines but a soft look. 
"Easy lines" and no cling to the hips flatter 
her figure. The career-girl suit in butcher- 
linen is for business and little dates in town. 
In navy, flag-red, cadet-blue, jade or saddle- 
brown. $12.95 at Saks Fifth Avenue in New York 

62 




Something new! Something exciting! Something 
daring! Introducing our novel new Fashion Clinic 
which, each month, will take one of our readers 
from real life and, under the guidance of 
expert Evelyn Kaye, change her into a Cinder- 
ella who will prove that you can be as smart as 
a Hollywood star. Meet our Girl of the Month 





PHOTOPLAY-MOVIE MIRROR'S m FASHION CLINIC 




FASHION COUNSEIOR-EVEIVN m\ 

• For Sunday in The Park, dating with a 
bluejacket. Gladys has on a cool seer- 
sucker plaid in flag's colors, red-white-and- 
blue. Crisp fabrics with body (no 
cling to reveal hippy line!) is smart 
choice for Gladys's figure. At McCreery's, 
New York, $6.98! Red straw muffin smack- 
on-the-curls, $3.98, and the black patent 
shoulder-bag $2.98, also at McCreery's 



For fwo more miracle-work- 
ing costumes, see next page 



JLY, 1942 




• Anywhere under the sun this 
summer, Gladys will wear her two- 
piece chambray playdress. 
Buckles make the waistline self- 
adjusting. It's crisp as popcorn. 
Obligingly pops into the soapsuds 
and under the iron between 
fun-dates. It's the "no fuss" tailored 
shirt tucked in the gently conceal- 
ing skirt that gives her "flgger" 
a break! Franklin Simon in New York 
has it for $6.98! Green, blue, 
brown or red with white 






• Good haul is Gladys's Jantzen swim suit. In these days 
a Jantzen is a long-term investment. Superb body 
fit and it's made of elasticized wool (if you know what we 
mean) so you'll wear it with pride for more than one season! 
"V-cut" top flatteringly foreshortens the bosom-line. Flared 
skirt covers an otherwise stark line of the hips. In 
slick-as-a-seal's-back black with white pique borders 
or in various colors with white. $8.95 at McCreery's, New York 



You can buy all fashions shown in "You Can Look As Smart As 
A Star" right now! Just write, phone or go to the stores listed 



PHOTOPLAY combined with movie mirrob 



Good-by to Marriage, 




Ann's separation from 
Roger (above) left her 
saddened and downcast 



It's headline news why Ann Soth- 
ern separated from Roger Pryor; 
it's new, exciting whispers about 
her friendship with Bob Sterling 

BY JOHN eURTON 




Ann's meeting with young Bob 
brought her inimitable wit back to 
life, gave a new note to her beauty 



IN Hollywood they're saying, "What's 
happened to Ann Sothem?" 
A few months back she was 
doleful and downcast. No damsel in 
distress could have looked more de- 
pressed. Days were spent in ruthless 
reflection. Ominous hours isolated her 
from familiar scenes. Then suddenly 
she emerged from a chrysalis of 
gloom. Her beauty took on a new 
note. Her inimitable wit came back 
to life. A radiance too obvious to 
disguise could only mean one thing 
(so everyone thinks). Ann must be 
in love! 

To get Ann to talk about it, or even 
admit it, is about as simple as getting 
Greta Garbo on a bicycle built for 
two. The Sothern style of doing things 
doesn't include those intimate peeps 

JULY. 1942 



into a movie star's heart. Ann has 
never been one to indulge in emo- 
tional whims. To unburden herself 
promiscuously. Even the true story of 
David Hobbs, a little boy who was 
taken from her life when she loved 
him most, has never been discussed 
by her. 

Early one morning Ann was called 
to the phone by Louella Parsons. Was 
it true that Ann and Roger Pryor 
were having trouble in their home? 
Louella waited for indignant denials. 
The usual outburst of rage. Tears and 
hurt feelings. Trouble, indeed! 

"Yes, it's true," answered Ann, who 
won't lie — but would have preferred 
not answering at all. "But we're try- 
ing our best to work it out. Please 
don't say we're splitting up. If it 



doesn't work out, then I'll give you 
the story." 

That was nearly two years ago. On 
September first of last year, heartsick 
and weary, Ann released her state- 
ment. It was dignified, brief, unre- 
vealing. "Due to our divergent 
activities, problems have arisen which 
make it impossible for us to con- 
tinue," was the way she put it. Tliere 
was no mudslinging. No bitterness. 
Just hurt on both sides. 

After eight years of friendship, five 
years of marriage, admission of failure 
was not a nice reward. Ann couldn't 
talk about it. She wouldn't talk about 
it. And she never has. She and Roger 
see each other occasionally. Often 
talk on the phone. A fondness for 
him and a {Continued on page 86) 

65 





Dietrich, favorite 
of Gabin because 
she's worldly, 
feminine, with 
the mind of a 
man and the 
heart of a woman 



TH[ LOVE DUE 




OE JEi GABIN 



He had to choose between Marlene Dietrich and Ginger 
Rogers. That wasn't so easy, even for a man like Gabin 

BY EEON SUBMEEI 



WHEN Gabin, the gamin, came 
to Hollywood a year ago via 
Spain and Portugal, he had 
all the earmarks of a man who had 
lived and loved. He had gone through 
the Battle of France as a common 
sailor on a minesweeper, an experi- 
ence that turned his wild shock of 
hair a tawny gray. He looks older 
than he really is — thirty-seven. 
Though born in a suburb of Paris, 
he had the earthy elemental qualities 
of a peasant in a naturalistic story 
by de Maupassant or Zola. Physical, 
lusty, powerful — possessor, the women 
who saw him averred, of more sex 
appeal than any other male in the 
profession. He fairly vibrated with 
sheer animal magnetism. 

He had a keen experienced eye 
for feminine charms. He told us in a 
tense, expectant tone, a roguish 
twinkle in his pale-green eyes: 

"I am looking for my Lady Eve, 
haven't found her yet. You want to 
know what I think of American wo- 
men? I know none of them well 
enough to pass a competent judgment 
on American women, but, of course, 
even though I have observed them 
only from a distance, I have not been 
blind to their attractions. For Ameri- 
can women are surely the most beau- 



tiful in the world." He whistled and 
glanced skyward. "And the best 
dressed. Definitely. It is strange that 
American women aren't aware of that 
fact. Here you can't tell an heiress 
from a stenographer — and for all I 
know the stenographer herself might 
be an heiress! Yes, they are very chic. 
And devilishly healthy! The way they 
walk — that freedom and grace of 
movement, that confidence in them- 
selves — it's splendid! I feel as if here 
in America a new, better race of wo- 
men has been developed. Although 
I am afraid American women are a 
bit cold, don't have the feminine 
warmth and emotional maturity of 
French women — at least the sophisti- 
cated ones. However, I may be wrong. 
I'll tell you in a year if I am! After 
I find my Lady Eve." 

He spoke in French — not the French 
of the Academicians, but of the rough, 
hearty proletarians of the Paris 
streets. We in America think of 
Parisians as suave folk of the Boyer 
brand. "You know the real Parisian?" 
Gabin said. "I know all the faults 
and all the virtues of my people, and 
especially of Parisians. The common 
people of Paris — men like me — talk 
a lot, yell a lot, but they are good 
fellows, (Continued on page 77) 




Rogers, favorite, too, be- 
cause she's simple, direct, 
gay, a woman of the people 



JULY, 1942 



67 



Should a Man Marry before Going to War? 



(Continued jrom page 35) natured, big 
Wayne Morris gave up his Valley ranch, 
his spacious farmhouse with the sp)ecially 
built oversized stuffed furniture and 
extra-length beds, his two servants and 
two cars, for a cramped, sparsely fur- 
nished three-room apartment and liked it. 

"I have never been so happy in my 
life," says Wayne with a broad smile. 
"At night, when I come home (while 
serving on the Selection Board, Wayne 
is permitted to live at home), instead of 
grumbling that there is nothing to do 
except sit at a night club and kill the 
evening to the tune of fifty bucks or 
more, we call up one of our Navy friends 
and his wife and ask them over to dinner. 
It is an unwritten law that guests bring 
part of the food. We all pitch in and get 
dinner together. It's fun! 

"We don't have to put up a front for 
anyone. Big homes, showy dinners and 
expensive clothes are no longer impor- 
tant. We never think of apologizing if we 
can't afford to buy this or do that. We 
are all in the same boat." 

Wayne admitted there was plenty of 
adjusting and scaling down before he 
could get married last January. Keeping 
up with Hollywood had left him little of 
his movie salary. There was consider- 
able difference between his Hollywood 
monthly check of $3,000 and the $183 
Uncle Sam pays him. 

"Pat and I knew we could live on my 
pay check, because hundreds of other 
Navy ensigns and their wives were doing 
it," said Wayne. 

Like the sensible, levelheaded young 
couple that they are, they sat down and 
figured out their assets and liabilities. 
Money from the sale of one of the cars 
and other unnecessary possessions was 
added to Wayne's saving account. He 
paid the mortgage on the ranch and 
cleared all outstanding debts. The rent 
from the ranch helps to support his small 
son by his former marriage to Bubbles 
Schinasi. 

"We worked out a budget that covers 
everything from food to clothes," ex- 
plained Wayne. "Each month it is a chal- 
lenge to make my check cover our 
expenses. 

"When Pat and I were married I had 
only a day's leave. So our motor trip to 
Pensacola, Florida, where I soon start 
three months' flying training, is really 
our honeymoon. 

"Pat and I refuse to worry or make 
plans. Plans, we have both found, seem 
to have a way of falling through. All the 
worrying in the world will not postpone 
the time when I will have to leave for 
active service. 

"So each day we try to get everything 
out of life. Tomorrow never actually gets 
here. It's today that counts." 

" I F I were married when I went into 

' the Army, I would be the fightingest 
son-of-a-gun in the world!" Blonde, tall 
Richard Travis's blue eyes took on a flinty 
glint as he spoke. 

"The priceless knowledge that my wife 
was back home loving me, waiting for me, 
would make war seem like a personal 
job. I would pitch in and fight like hades. 

"I wouldn't hesitate to get married, 
even though I were going to the front 
the next day." 

Although Richard Travis has not yet 
been called into service, from actual ex- 
perience he knows what it means to 
work with U. S. armed forces. 

The two Warner Brothers Army shorts 
in which he worked recently, "The Tanks 
Are Coming" and "Here Comes The Cav- 



alry," were made with trained soldiers, 
under Government supervision. 

"Since making these pictures I have 
more respect than ever for our armed 
forces," said Dick. "I was very proud to 
work with them." 

Although he did not mention any par- 
ticular girl, Jean Cagney, cute red- 
headed sister of Jimmy, is the girl young 
Mr. Travis is lunching with these days 
at the Warner Brothers studio. 

"One thing is certain," smiled Mr. 
Travis. "When the right girl says 'yes,' 
it won't take me long to find a preacher." 

WHAT do Hollywood actresses think 
about marrying a man soon to be in 
the front-line trenches? How do they 
look upon war marriages? 

Let's hear Priscilla Lane's side of the 
argument. 

Gossip columns have recently been pre- 
dicting that Pat was once more altar- 
bound, this time with Lieutenant Joe 
Howard. Despite the pleasantly in- 
triguing reports that she has also been 
seeing her ex-fiance John Barry, news- 
paper editor of Victorville, Pat's eminent- 
ly qualified to speak. For she is a girl 
facing the important decision: Would I 
marry a man who is going away to war? 

It was this same decision which entered 
into her betrothal to young Barry. 

• • • 

HEDDA HOPPER 

uncovers twenty burn- 
ing questions Holly- 
wood Insiders would 
like to hush-hush 

NEXT MONTH! 

• • • 

"I can't set a wedding date until John 
knows where he stands in the draft," 
Pat said the day her engagement to Mr. 
Barry was announced. The fact that ihat 
engagement was broken a few months 
later has not changed her ideas that it is 
better to wait than to marry a man who 
is going to war. 

Priscilla's latest romance report started 
when, tired out after making two pic- 
tures in a row, "Arsenic And Old Lace" 
and "Saboteur," she hurried down to her 
favorite desert vacation resort, Yucca 
Loma. When she found that her friend 
and hostess, Gwyn Baer, had turned the 
playroom into U. S. O. headquarters open 
to soldiers quartered near by, it was only 
natural that Pat should agree to help with 
their entertainment. 

It wasn't long before it was obvious 
that Lieutenant Howard was receiving 
most of Pat's attention. When she and 
the good-looking lieutenant were seen 
swinging through square dances at the 
Saturday night country grange and tak- 
ing long drives into the desert, gossip had 
it that Pat and the Lieutenant were that 
way about each other. 

Pat, who has just returned from her 
vacation to start work on her new picture 
at Paramount, has nothing new to add 
to her views on not marrying a man in 
our armed forces. She holds to the con- 
clusions arrived at, after thoughtful con- 
sideration, at the time of her engagement 
to John Barry. 

"An actress is different from other 



girls," said Pat at that time. "Gossip 
columns and Hollywood rumor contin- 
ually link her name with this man and 
that. It's hard enough for an actress to 
make a go of marriage in Hollywood 
when both husband and wife are in pic- 
tures and living together. With the 
husband away in the Army or Navy, 
especially if he weren't in pictures, their 
marriage wouldn't have a chance. Seeing 
his wife's name in print, reading ac- 
counts of her appearance here and there, 
he might think the little woman wasn't 
giving much thought to him. Misunder- 
standing would follow. It's hard to sep- 
arate publicity from the real thing. 

"Separations are no good. The next 
time I get married I am going to have a 
real wedding and settle down with my 
husband in a home of our own." 

"VES, definitely, I would marrj' a man 

• about to go into our armed forces, if 
I were in love with him," said Linda 
Darnell. In her portable dressing room, 
between scenes of "The Loves Of Edgar 
Allan Poe," which she is making at 
Twentieth Century-Fox, Linda sat be- 
fore her mirror combing her hair. 

"If I didn't marry him and he went 
away, I would be keeping myself for 
him forever after. I would feel that no 
other man could ever take his place. I 
would think, 'Wasn't I a fool not to take 
love when I had it.' 

"If it were possible for me to live near 
him, while he was in training, I certainlj^ 
would be there, even though it meant 
giving up my career. If I loved him 
enough to marry him, I would love him 
enough to give everything up for him. 

"Of course. I would hate having the 
time come when he would have to leave 
me. However, if I married a soldier in 
wartime. I would know that day would 
eventually arrive. And if the man I 
loved didn't join some branch of our 
armed forces. I couldn't respect him." 

When Miss Darnell was asked whether 
there was any particular man in her life, 
she answered, "No. I wish there were. 
There is not even one soldier."' 

XilCHELE MORGAN, with her entire 
family in France and the memory 
of the heartache and tragedy war brings 
less than a year behind her, has this to 
say about marrying a man before he 
joins the armed forces. 

"If I loved him, "Yes." But I would 
want to be very sure it was love and not 
just a high emotional pitch of the 
moment. 

"He's going to come back from war 
with his whole perspective of life 
changed. We learned that in France. 

"I would try to think ahead. 'Do I love 
him enough to help him build a new life 
when he returns? Will I have the pa- 
tience and understanding he will need? 

"It is so easy for a girl to fall in love 
when she meets a man about to go into 
the Army. She thinks, "He has only a 
few days. It's our right to marry and take 
what happiness we can.' "' 

To the credit of all these girls money 
was not mentioned. Although they have 
money now. what if their husbands left 
them with expectant motherhood facing 
them and they were unable to go on with 
their career? Tlte main issue, rather, 
seemed to be the effect indefinite separa- 
tion would have upon their future. 

Hollywood sweethearts, like sweet- 
hearts from coast to coast, have one 
thought uppermost in their minds — a 
wish to do the best for all concerned. 
The End. 



68 



PHOTOPLAY combined with mo\ie mirror 



Helene Car+wright, graphol- 
ogist, unties the knotty mar- 
ital problem of Ty and Anna- 
bella in the stroke of a pen 



PSYCHOLOGISTS are always specu- 
lating as to whether like drawn to 
like or opposite drawn to opposite is 
best suited. The graphologist knows that 
like to like and opposite to opposite can 
produce the ideal love pair. 

Tyrone Power and Annabella are at 
opposite poles of thought and feeling. 
He is forthright and downright, aggres- 
sive and sure of himself. Look at those 
dynamic capitals, the speed with which 
he writes, the long, aggressive "y" in his 
first name. Here is a person who does 
not care for the subtleties and who has 
marked out his path in life with few 
ifs, ands and buts. 

Even people who do not notice writ- 
ing very much must see that, as a writer, 
Annabella is something special. Her 
script is written with a hand which dis- 
dains the exact, readable letter form. 
She runs the pen hastily through each 
letter — notice that "Anna" would be 
something at which to shoot a guess if 
you did not know the name and "bella" 
is little better. 

The script gesture is that of a gay 
indifference as to whether you can read 
the name or not. Annabella is not con- 
cerned with what the world thinks of 



T'S IN A 



? 




her; whether she is making an impres- 
sion or not, or whether she is dynamic 
or forceful. She is just herself and you 
take her or leave her! 

Tyrone does care whether you take 
him or leave him. He wants to have you 
understand him; he wants to make an 
impression; he throws himself into his 
roles with the determination to make 
them effective. 

Annabella goes through her roles with 
her own conception of them paramount; 
she plays herself and lifts a dainty shoul- 
der at the world and its opinion of her as 
an actress. 



These two have had a good deal of 
adjustment to make and yet each re- 
mains a distinct and different character. 
In such a union there is that strange 
attraction of opposites, in which two 
people do not agree but agree to dis- 
agree and are passionately in love just 
the same. 

No more subtle character is on the 
screen today than Annabella; no more 
forthright and dynamic character than 
Tyrone Power. What a combination! 
What difference! And, maybe, what 
happiness! 

The End 




I- 



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Ponds UPS' 

—Stays on Longer 

5 full -of - ideas "Stagline" shadi 
flaming Rascal Red thr 



he bi( 



ie shades — with 
lig summer news. 

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The Skelton in Hollywood's Closet 



(Continued jrom page 39) to Edna. 

"You're just afraid of it and you know 
it," she says. "What's a little click, for 
heaven's sake?" 

Anyway, he'll sit in a room and let the 
thing ring and ring and ring until Edna 
runs upstairs or downstairs or wherever 
to answer it. "The only time in his life 
he did answer it," Edna says, "he got 
us into a Philadelphia theater a week too 
soon." She gives Red a look and he 
shamefacedly pretends to be absorbed in 
his macaroni and cheese, which he 
ordered because Edna did. 

I F all marriages, the Hollywood kind or 
' any kind anywhere, were based on the 
same solid foundation of need of each 
other as Red's and Edna's, what a field 
day it would be at the happy home fes- 
tival. Edna writes his sketches and Red 
acts them. When a theater manager once 
suggested a girl for his act, Red insisted 
on Edna. 

"I won't do it," she said. "I've never 
been on the stage in my life." 

So they tried out a girl violinist and 
Red just acted awful. While she played 
Red refused to carry the signs behind 
her that read, "Anyone that wants a 
free beer, applaud." The new acrobatic 
dancer met the same ghastly fate. If she 
thought Red was going to picket her, 
while she twisted her sacroiliac into un- 
ladylike positions, with posters that read, 
"Hiss if you're a monkey," she was a 
mistaken woman. Red wanted Edna. 



It was the proffered new taffeta dress 
and not Red that finally won Edna over. 
She and Red had been so poor that any 
kind of a dress was a triumph of matter 
over mind. So, reluctantly, Edna con- 
sented, forgot the words of the song half- 
way through, ran off the stage, was 
hauled back by Red and finally had to be 
propped up between Red and the orches- 
tra leader until the finish. 

For the four hundredth time she 
packed her suitcase to leave him. This 
time, she was through and all the people 
in Kansas City, where she lived, had 
been absolutely right when they said no 
good would come of Edna Stillwell's 
marrying a burlesque banana. Only, of 
course, she didn't leave. Red had cured 
her of that the first year of marriage. 

They were children, remember, fifteen 
and seventeen, still used to using what- 
ever weapons were at hand, so when on 
the third day of the honeymoon the usual 
fight got under way, they tussled like 
two kids, with Edna accidentally biting 
Red such a lulu he promptly came down 
with blood poison. For a while the doc- 
tor thought he might have hydrophobia 
and Red was frantic for fear they'd cut 
off Edna's head for an analytical exam- 
ination. 

She left him, took a bus, went home, 
and was gone nine months. She ignored 
Red's letters that said, in turn, "Please 
come back," and "AH right, stay there." 
He was a lonely kid of seventeen, who'd 
been out in the world since he was ten. 



and, doggone it, he needed Edna. After 
nine months the great reunion took place. 
Three days later they staged a battle 
that put Gettysburg in the show money. 
"All right, go home, ' Red yelled before 
Edna had a chance to utter her threat. 
So just for that she stayed. 

Things, of course, quieted down when 
Red and Edna grew into adulthood, which 
is a pity. But if the urge does come upon 
them now to argue things out, no matter 
where they are or who's around. Red 
will say, "No, I'm going to have it out 
right now while I'm mad." And so he 
does. He never stays mad longer than 
two consecutive minutes and can't under- 
stand other people who keep on being 
mad when he isn't. 

They are simply wonderful. They kiss 
when they meet and when they leave 
each other, if it's twenty times a day, or 
if it's in the M-G-M commissary with a 
hundred beauties looking on. Edna is 
plain. But Edna is one of the main 
reasons Red can be in the M-G-M com- 
missary today. He knows it. 

RED is a new kind of comedian in 
Hollywood. He's what they call out 
here a situation comedian. Unlike Bob 
Hope, he does not depend on smart lines 
or gags. The only really funny thing 
we ever heard Red say was that he was 
so much a wolf that every time a pretty 
girl went by he said, "Halloooooo," and 
he sounded exactly like a wolf calling 
his mate. Even Edna laughed. He never 



drinks and yet, as he himself says, he 
can look more plastered than a Cali- 
fornia bungalow. He sees the ridiculous 
in everything, everyone, every situation, 
everydayish and commonplace. Or 
rather, Edna does, and Red embroiders it 
in green and blue daffodils and with 
fringe, yet. 

He talked so much and so constantly 
when he was a kid in Vincennes, In- 
diana, where he was born, that his em- 
ployer for the summer, a grocery-store 
owner, finally went to the owner of a 
traveling medicine show encamped with- 
in the town and said wearily, "Look, take 
him away, I beg of you." 

So Red, who was ten at the time and 
had to work to eat, talked it over with 
his widowed mother and she agreed he 
should try it for the summer. The other 
three boys, who were older, could keep 
the home fires at least smoking. 

The next summer he "toured" again, 
and after that he joined the John Law- 
rence Stock Company, and later Clarence 
Stout's Minstrels and at fourteen he left 
his old Vincennes home for good, and was 
that town happy! A season on the "Cotton 
Blossom" Showboat floating up and down 
the Ohio River gave way to his clowning 
for the circus. At sixteen he was the 
youngest burlesque comedian in exist- 
ence, and the following year he was 
married. 

HE met Edna when the frantic manager 
of the Kansas City Pantages Theater 
up the street tore into the burlesque 
house where Red was playing and said, 
"Quick, I've got to have someone at 
once. The stooge for one of my acts 
hasn't shown up." For some reason, 
everyone looked at Red. "Hey, wait a 
minute . . ." he began. But the next 
thing he knew a Pantages usherette 
named Edna Stilbnan was lighting his 
way to an upi>er box where Red was 
scheduled to imitate a bored man at the 
theater. "The act was no good," Edna 
informed him as she lighted his way out. 

The next week he filled in again and 
this time Edna grudgingly admitted he 
was funny in one or two spots. Over- 
come, Red asked to take her home and 
thereupon embarked on what he claims 
was a streetcar ride that went from 
Kansas City to somewhere near the Ohio 
State Line. That trek on wheels cooled 
the budding romance like ice down the 
neck. But Red kept filling in night after 
night and Edna's comments became more 



and more sensible and finally there they 
were — in love, two kids who were lonely 
at heart, who had to work to survive 
and who needed each other. 

They plunged immediately into Walk- 
athons, the fad that was then sweeping 
the country. They traveled from city to 
city, walkathoning and walkathoning. 

From Walkathons the Skeltons, with 
the aid of Uncle Jim Harkin, now with 
the Fred Allen radio show, entered 
vaudeville. They got out of it more 
times than they were in it, too. They 
accepted the fact that they were poor 
and very hungry. Ereryone else they 
knew was, too. 

Once when they were thrown out of 
their apartment they took a dirty, miser- 
able room and set to, with a borrowed 
scrub bucket, to clean. They sacrificed 
to buy enough paint at the ten-cent store 
to cover the walls and miserable' furni- 
ture. They scraped and tidied and 
cleaned until even the Chinese, who 
had a cubbyhole next door, could hardly 
bear it. Red even built a pair of steps 
from the window to the courtyard for 
the dog. There was always a dog, no 
matter what, and once there had even 
been a duck and a small p>olar bear. 
When all was finished, the landlady raised 
the rent beyond their means. Red was 
wild. He began throwing things into 
their trunk, preparatory to carrying it 
downstairs and saving thereby on the 
hauling charge. 

"Are you sure you can carry it down 
on your back?" Edna asked. 

"Of course I'm sure," Red stormed and 
proceeded to the stairs where he in- 
stantly tripped, dropping the trunk, which 
promptly chased him all the way down- 
stairs, with Red screaming, and the trvmk 
gaining at every step, and the dog yowl- 
ing bloody murder, and the Chinese bow- 
ing like a madman to everyone in sight. 

P ED'S first big chance came in a club in 
Montreal. He borrowed a dress suit, 
went on and was a miserable failure. 

"Ah, those gags are old," a customer 
chided aloud in disgust. 

"Don't like old things?" Red asked. 

"Naw," sneered the customer. 

"Then what are you doing with that 
face?" came back Red. 
That turned the tide. The Skeltons were 
then on their way. 

"Look," Edna said one night after a 
successful vaudeville tour, "I don't like 
our routines. I could write better ones." 



"Why don't you? ' Red asked. She did 
and has been doing it ever since. 

The famous doughnut routine, intro- 
duced by Red in "Having Wonderful 
Time," had its birth when the pair was 
playing Montreal and the manager de- 
manded something new. The two sat in 
a coffee shop an hour before show time, 
blue and sunk. Finally Edna said, "Look 
at that fellow over there. The way he's 
dunking that doughnut. It gives me an 
idea." 

For three years the Skeltons toured the 
big time with their doughnut act. Red 
ate twelve doughnuts during his half- 
hour act or thirty-six sinkers a day. His 
mouth was covered with blisters, he 
added thirty-five pounds of weight and 
finally ended up in a hospital. 

"Having Wonderful Time" didn't do 
much for Red. His vaudeville career 
seemed to nose-dive, too. And just then 
came a year's radio show in Chicago 
and, on its heels, his M-G-M contract. 

"I can make you independent in three 
years," their manager said to Edna. 

"No, make it five years and let Red 
have a little fun. He deserves it," she 
said. 

THEY moved into a cottage-type Brent- 
' wood house solely because it had a 
secret panel which Red adored. The 
panel leads into Red's own den, which 
is, ladies and gentlemen, beyond descrip- 
tion. Red himself furnished it with a 
red leather chair from a secondhand 
store and a three-dollar organ which 
sounds ghastly and which Red painted a 
vivid red to unmatch the chair. Hitler 
and Churchill couldn't clash worse. 

Red Skelton brings a new link between 
Hollywood and you fans out there. He is 
you on the wrong side of the fence. He'll 
join fans that crowd the sidewalks to see 
the famous. 

"What's all this keeping away from the 
people who keep you going? I don't get 
it," he says a bit bewildered. 

No, and he never will, either. 

"Oh, say," we said on leaving, "what's 
your real name? You weren't born 'Red,' 
were you?" 

He looked puzzled a moment, glanced 
imploringly at Edna. Then suddenly the 
two dimples went into action in those 
cheeks, the brown eyes twinkled, the 
red hair gleamed. 

"It's Richard," he beamed. "Gee, you 
nearly had me there for a minute!" 
The End. 



(Continued from page 53) the Lily Maid 
of Astolat, or the young Juliet. "That is, 
she pictured herself that way until she 
began to get angry. 

That anger was her cure and the rea- 
son she got angry was due to the very 
quality that today distinguishes her act- 
ing. 

The trick was that she began to think. 
The actress in her let her sob and drama- 
tize herself, but the intellectual in her, 
which is more powerful, made her realize, 
after a bit, that she was also giving a 
great performance without a soul to 
watch it. Moreover, she knew that some 
of her tragedy was due to not having told 
Olivia the whole truth. 

For when Olivia had told her that she 
was cast for Melayiie, Joan had retorted 
that she had tested for Scarlett O'Hara, 
had tested and lost out. That was true, 
but, what was also true, was that Joan 
could have tested for Melanie. In fact, 
Selznick had begged her to do so, but 
she had refused. She had refused be- 



Personal Conquest 

cause she thought Melanie a role not her 
type. 

So here she was, in the middle of the 
night, in the middle of an empty house, 
being a poor, pitiful pawn of fate. 

"I won't be like that," said Joan aloud 
to herself. "I refuse. I'll cook some- 
thing." And there again, she began ex- 
pressing another side of her complex, 
sensitive nature. 

•That is her ideal not of being a great 
siren or a femme fatale but of being a 
perfect wife. She had always visioned 
herself in that role and she firmly be- 
lieved that the quickest way to a man's 
heart was through the dinner table. 

So on her near-suicide night, Joan 
sought out the kitchen, whipped up a 
concoction of rum and bananas, ate it ap- 
preciatively and crawled into bed. Na- 
turally, with such a feast inside her, she 
didn't feel in the least sleepy, so she tore 
the wrapping off a new book and settled 
down to read. Then she forgot her sad- 
ness, Olivia, the future, everything. The 



book completely fascinated her. Its title 
was "Rebecca." 

THE next morning she felt she could, 
' somehow, conquer life and when 
George Cukor, the director, called 
through, asking her for dinner that night, 
she regarded it as a good omen. 

She arrived at dinner, feeling very shy 
amid the brilliance of Cukor's house and 
guests, and discovered her dinner partner 
to be David Selznick. Searching for 
conversation she told him, "I read the 
most wonderful book last night. 'Re- 
becca.' " 

"I bought it today," said Selznick. 
"Would you test for that role?" 

That began it. She tested for six solid 
months. Cukor did get her a bit to play 
in "The Women" meanwhile, but nothing 
happened but more tests. She knew 
scores of other young actresses were try- 
ing to be Rebecca, too. 

She was back in her old cycle again, 
just as Liv was in her cvcle of success, 



JULY, 1942 



71 



adoration, flirtation and romance. 

So Joan did the other thing she always 
does when she feels low. She got herself 
engaged again. Today Joan would rather 
not reveal his name and her reason is 
very good since the unlucky-in-love gen- 
tleman was no less than the person who 
first took her to Brian Aherne's home. 

Joan had met Brian at a Palm Springs 
hotel when he had heard her voice in the 
game room and, thinking it was Olivia, 
whom he knew, had come bounding into 
the room to find, instead — his future wife. 

But the first time Joan and Brian really 
got together was when Joan's intended 
(or so he thought!) took Joan with him 
to a garden party of Brian's. It was a big 
party, complete with a fortuneteller, and 
Joan, not knowing many people, decided 
to retreat from the crowd by having her 
future read to her. "You are going to 
marry your host," said the mystic. 

Joan laughed, jumped up and left the 
fortuneteller's tent, and then her heart 
stood still. For standing outside that tent 
were Brian and her fiance. 

Her fiance rushed over to her. "Oh, 
Joan," he said, "I want you to come talk 
to Brian Aherne." 

Joan suppKJses now that her fiance was 
called away at that moment, but she isn't 
sure. She only knows that she and Brian 
began to talk, that she said to him 
breathlessly, "Mr. Aherne, I've just been 
told I'm going to marry you," that he re- 
plied, his eyes twinkling. "We shall have 
to do something about that. How about 
a date Wednesday or Thursday to talk 
it over?" and that she said, instantly, 
"Both!" 

Before Wednesday arrived, she had 
learned all about his romances. "They 
were all such glamorous women," she 
says now. She knew he was a persistent 
bachelor — and there she was resolved to 
marry him! 

BUT on Wednesday evening she forgot 
all of that because she was fasci- 
nated talking to him. Their talk ranged 
from Shakespeare to Selznick, from 
metaphysics to make-up. She discovered 
he loved food as much as she did, loved 
books as much as she did, loved music 
and dogs and flying and walks in the 
country and being just with one person 
and being formal about informal things 
and informal about stuffy ones. Mid- 
night came and went, and one o'clock and 
two. Finally he said "Good-by, until 
tomorrow." 

She didn't sleep a wink. She lay tossing, 
thinking abjectly, "I was so stupid. I 
wasn't a bit glamorous. I just talked." 

The next night he said, "Are you 
really engaged?" 
"Yes," she said. 

"We must do something about that," 
he said. 

"But I'm practically married to the 
man," she said. 

"Well, you certainly couldn't marry 
him if you were married to me," he said. 

Joan looked at him, hardly daring to 
breathe. She saw Brian's eyes widen, 
saw his rare, sensitive smile illuminating 
his worldly face. "I've proposed to you," 
he gasped. 

"Oh, yes," sighed Joan, "and I accept." 

So there she was engaged again, only 
this time she meant it. She took Brian 
up to meet her mother in Saratoga and 
her mother said, "Why, Joan darling, he's 
nice, which means you'll be divinely 
happy." Joan said merely, "Yes, Mummy," 
because she was being meek as a lamb 
those days about everything and saying 
yes to everything because she already 
was divinely happy and Brian was giving 
all the orders. He said they were to be 
married in not more than two weeks. He 
said they were to be married at St. John's 



Chapel in Del Monte. He said she was 
adorable, beautiful, feminine, exquisite 
and he was so glad she wasn't going to 
be an actress. 

So the day before the wedding David 
Selznick called up. "Report to the studio 
at once," he ordered. "You are Rebecca." 

"But I can't," Joan gasped. "I'm being 
married tomorrow." 

"Oh, that," said Selznick. "Put it off. 
We start shooting tomorrow. At nine." 

"No," said Joan. "I'm being married 
tomorrow." 

"Well, okay. Be here the day after 
tomorrow, then." 

"No." said Joan. "Brian wants a honey- 
moon. We're going to Santa Barbara 
and Oregon." 

"You are an ungrateful girl," said Selz- 
nick (only he didn't say girl). "Two 
weeks then and not one hour more." 

EVERYTHING was wonderful and ter- 
*- rible about the wedding. Liv kept her 
awake half the night before it, calling 
from Hollywood to tell her about some 
new romance. Her mother held up the 
wedding by being half an hour late for 
it. Brian never noticed the traveling 
dress, which she had bought so carefully, 
and which she changed into right after 
the ceremony. But not one bit of it 



Do you know 

HOLLYWOOD'S 
SECRET HEARTBREAKER? 

Meet the fascinating 
man who stays in the back- 
ground and pulls the heart- 
strings of Hollywood's 
most glamorous women — 

HERE— NEXT MONTH! 



mattered. She knew that she had really 
found her love and all her future life. 

Selznick called her every day of her 
honeymoon, asked ten thousand ques- 
tions. When the honeymoon weeks had 
passed, she came back to Hollywood be- 
cause Brian had to go to work as well — 
in "Vigil In The Night" and "My Son, My 
Son!" with no lapse in between. She 
came back to Brian's very bachelor house, 
and groaned inwardly. It had that dark, 
ponderous gloom that always charac- 
terizes very masculine men's houses and 
Brian thought it absolutely perfect. 

She went to work, next day (Brian had 
said since she'd be all alone in a strange 
house, he'd be willing for her to play 
"Rebecca" — and then no more screen 
work) with the double burden on her of 
being at once a star and a new wile. 
Hitchcock is an exacting director, Selz- 
nick an exacting producer, but no matter 
how tired she was, she saw to it that 
Brian's house was beautifully ordered, 
that his meals were p>erfectly prepared 
and served, that she herself was always 
dressed for dinner. Surreptitiously, too, 
she began changing the house's decora- 
tions, a chair here, a pair of drajjeries 
there. 

The moment "Rebecca" was released, 
of course, Joan was a star of major mag- 
nitude. At once the pressure was put 
upon her. Selznick wanted to put her im- 



mediately in other pictures. Everv studio 
wanted to borrow her. Role after role 
was offered her. She turned them down, 
one after the other, until she came to 
"Suspicion" and after that she turned 
them down one after another until she 
came to "The Constant Nymph." 

"You are an ungrateful girl," snorted 
Selznick, only he didn't say girl, and that 
word got repeated and that was how the 
legend of her being difficult arose. 

She didn't want to do "This Above 
All," but Selznick wanted her to and said, 
he holding her contract, that either she 
did that for him or he wouldn't p>ermit 
her to do "The Constant Nymph." So she 
has done both and the praise of her in 
both roles is whispered everywhere in 
Hollywood. 

She is trying to adapt herself to the 
thought that if her holding to her artistic 
ideals makes her be called difficult, she 
will give up the easy camaraderie of 
Hollywood to maintain the ideals. She 
was bitterly hurt by the completely un- 
true, malicious stories that were circu- 
lated about her, after she received this 
year's Academy Award, stories that said 
she had gone high-hat and artificial. 

"I don't want to get where I'm not 
hurt by such things," she says, with a 
worried little frown on that lovely sensi- 
tive face of hers. "If you get so you are 
not hurt, it means you are getting so you 
don't feel, and feehng things deeply, 
knowing things deeply, are the things 
that count. If to go on with my career 
means losing that sensitivity, I'll give up 
the career." 

"VA/HAT about giving up Brian?" I 
asked. 

She looked at me aghast. "Why. I'd 
give up my career in a second," she said. 
"I love acting. Brian knows that. But 
he comes so far ahead of my work that I 
can barely glimpse it from where I stand 
beside him. I want to have children, at 
least two. I want to be a perfect wife 
first, then a perfect mother, and. if there's 
still time enough after I've done that, 
then an actress. It was the most thrilling 
thing, getting that Academy Award, but it 
was more wonderful, returning home that 
night and having Brian put his arms 
around me and say, 'Ah, darling, how 
good to be home alone, together. I want 
us to go on like that forever.' 

"We live on Brian's salary which is 
more than sufficient for our simple needs. 
This means my salary, which isn't very 
high, is just 'plus' and I, lucky creature 
that I am, may really pick and choose 
my roles. I simply would not work if it 
endangered my home life. 

"We don't go out very much. Brian and 
I, but whenever we do, we suddenly dis- 
cover, in the midst of a party, that we've 
circulated around the room, and come 
back together, and there we are, talking 
away furiously. If I sacrificed everything 
to stay like that I'd still be way ahead, 
still be one of the luckiest women in the 
world." 

We walked out through the house that 
had once been dark and which is now 
all beauty and sunshine. Joan looked at 
me, grinning. "He likes it now," she said. 
We came out into the sunshine, where her 
small dog was romping and the flowers 
were nodding. "Isn't it all beautiful?" she 
said. "Isn't it all wonderful?" 

I saw she was dreaming again, this 
girl w "lo had been so lonely for so long. 
And I went away, dreaming, too. know- 
ing I had seen that rarest of Hollj^vood 
sights yet one of the loveliest sights in 
the world, the sight of a woman of 
courage, ambition and beauty who is 
above all that completely a wife in love. 
The End 



72 



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Jtrt-Y, 1942 



7"? 



"You Alone . . ." 



(Contivued from page 32) him. Now 
he was way over in Australia, Arline 
said. And this summer — the planes 
would all be different, they'd be ready to 
fight— to protect everybody from the 
Japs. 

1 wish I had a Jap right here, I'd 
cut his head right off, Betty thought. 
I should think even their own children 
would want to cut their heads right 
off, spoiling everything and starting 
wars. 

So you were supposed to buy a defense 
stamp. "On you alone. . . ." 
It was so silly. 

Still, she couldn't cut any Jap heads 
off, and the point was to get rid of them 
so this summer maybe would be like 
they had planned — or anyway the sum- 
mer after that. 

It's a drop in the bucket, Betty thought, 
but I got to do something or I'll bust. 

HER bike had a fiat tire and she 
couldn't get another one, even if 
Mom had the cash, which she didn't. 

Of course she had walked farther, 
maybe, but that had been for fun and 
with the gang. Now, she trudged along 
the Roosevelt Highway, and she was get- 
ting a fine big blister on her heel that 
hurt. The wind from the ocean had 
turned cold — like it always did about 
three o'clock, and she felt lonesome. 

Every quarter counts — one-two — one- 
two — my feet feel like boils and that's 
what they'll be if these blisters keep up. 
I hope my quarter buys a piece of a 
bomb that hits a Jap right in the head. 

Tires screamed and breaks squeaked 
and a roadster skidded to a stop beside 
her. Betty looked up with her mouth 
open to say no, because if there was 
one thing Mom was practically a nut 
about it was Betty accepting a hitch or 
getting in a car with a stranger. But 
when she saw the girl at the wheel, Betty 
closed her mouth again. 

"Want a lift?" the girl said, and Betty 
figured even Mom couldn't throw a fit 
about this, because she had seen the girl 
around the studio, so it wasn't likely 



she'd want to stuff Betty's body down 
a drain. 

"What is this?" the girl said, "an in- 
itiation or are you a girl Scout?" 

She was a very pretty girl, not as 
pretty as Myrna Loy, of course, because 
nobody was. But this girl was sort of 
cute. A warm number, probably, the 
way she wore so much lipstick and that 
sweater — the Hays Office would have 
something to say about that, if she wore 
it in a picture. "The top was down on the 
convertible and the wind blew her hair 
around and it was naturally curly — Betty 
could tell a permanent — and she even 
thought the blonde hair might be on the 
beam, too. 

"My name's Janice Faulkner," the girl 
said. "Where can I drop you?" 

"Well," said Betty, "I got to get to the 
studio in Culver City, but if — " 

Janice turned to look at her. "You 
mean you were going to walk all that 
way? Why, child, it's miles." 

So Betty said, "If you got to, you got to. 
You're driving, and you look a little 
peaked." She did, too, Betty noticed, 
like Mom when she was worried about 
paying the rent. But of course a girl as 
pretty as Janice wouldn't be worrying 
about the rent. 

Still, Janice looked sort of nice and 
before she knew it she had told her about 
the Defense Stamp and everything. 

"You mean," Janice looked at her in 
a very furmy way indeed, "you mean 
you were going to walk all that way over 
and back to buy a — good heavens." 

"I don't see any two ways to it," Betty 
said. "Mom says I can talk my way out 
of anything, but I had quite a gab with 
myself and I couldn't talk myself out of 
this. I hope what they buy with it blows 
some Jap to smithereens and besides my 
boy friend's in — in uniform — as you might 
say — and they got to have guns, don't 
they?" 

"My — goodness," said Janice. "Here — 
I'll give you a quarter and you can mail 
your letter and — " 

"Thanks," said Betty, "but that wouldn't 
do. You buy yourself one, though. . . ." 




Two buddies, Gene Autry and Smiley Burnef+e, come to the fore- 
ground to do some A- 1 American background work for Gene's yodel- 
ing of the hit song, "Any Bonds Today" in "Home In Wyomin' " 



"He'll see you now, Miss Faulkner," 
the receptionist said. 

Dorsey, who held the best producer- 
director contract on the lot, said, "Hello 
Beautiful. How's your love life?" 

"I — it's something you'll never find 
out about," said Janice Faulkner, the red 
mantling her cheeks. "Look, Dorsey, I 
can't go. I might as well quit kidding 
you and myself — if I ever was. You're — 
a nice guy, but — not for me. I wouldn't 
mean it. With Art away — in uniform, 
as somebody I met this morning would 
say—" 

"I've seen better looking uniforms than 
Private Arthur McCullah's," said Dorsey. 

"At least, he volunteered,'"said Janice. 
"He's doing a job the way he sees it. 
And if I were you I wouldn't go around 
making cracks about guys in uniforms." 

So there, she thought, went her last 
chance for that part, if she'd had any left 
after turning him down for the week-end 
trip. 

■To her surprise, he laughed. "Spitfire, 
huh? You really stuck on that soldier?" 

"It's none of your business," said Janice. 
"Take it easy. 'Bye now." 

ON her way out she stopp>ed to use the 
telephone. If she wasn't going to Ar- 
rowhead for the week end, she wouldn't 
need aU those new clothes. As that little 
imp had said, how could you tell — Art 
might need a gun. 

Dorsey hesitated when he saw her at 
the window of the studio post office. But 
Janice was intent upon buying a Defense 
Bond, so he went on down the corridor, 
whistling low between his teeth. 

And he'd thought he knew something 
about women. As a matter of fact, he 
thought he knew everything about wo- 
men. 

He might as well get this thing settled 
with T. J. right now. T. J.'s office 
was twice as big as Dorsey's and twice 
as elegant. As a rule, T. J. had an air 
of command that fitted its regality, but 
today he looked tired. He looked as 
though his great frame had sagged in 
spots. His eyes, when they met Dorsey's, 
were harassed and sort of bewildered, as 
though he had too much on his mind. 

He said, going right on with a conver- 
sation he'd been having in his own mind, 
which was a trick of his, "It spoils every- 
thing — this war. Just when I had such 
great plans — why did this have to happen 
to us? If we could only do something — 
quick." 

Dorsey said, "You do a lot, Boss. You're 
always trying. We've got to do our bit 
keeping their morale up, keeping people 
happy. Look how even in England they 
keep on going to the movies. Look— 
I've changed my mind about one thing 
that'll give you a break maybe, though I 
don't know what you got in your mind." 

T. J. raised his eyebrows inquiringly. 

"That big part in my new picture — the 
one I said I had to have Gilda Ramsey 
for?" 

"I know," said T. J. "First you are 
going to find me a new girl, make me a 
new star the part is so good. Then you 
;;!ot to have Gilda Ramsey, who is our 
best box-office draw. So — you get Gilda 
Ramsey.'" 

"That's what I changed my mind 
about," said Dorsey. "I'm going to use 
a new kid named Janice Faulkner." 

T. J. stared at him. "Yesterday you 
said you wouldn't have Janice at any 
price. Yesterday you got to have high- 
priced Ramsey and Janice is no good. 
Like a fish you flip-flop." 

"Yesterday," said Dorsey, "as far as 



74 



PHOTOPLAY combined icith movie mirror 



I was concerned this Janice was just an- 
other pretty pushover. Today — well, I 
find out the kid's got guts. She's got 
some capacity to be in love and maybe 
to be loyal even when she's tempted 
by ambition." He made the immortal 
gesture. "She's got it here." 

T. J. looked at him and his eyes began 
to twinkle. "So — she said no to you, 
huh?" No kidding, they could say what 
they liked about T. J., but he was a wise 
old bird. 

"Well, you wanted Ramsey bad for 
something else, didn't you?" Dorsey said. 

D ACK in his office, Dorsey sent for his 
business manager. When the man 
came — Dorsey hated him like poison — he 
said, "How many of those Bonds did we 
buy — those Defense Bonds — Offense 
Bonds — for Victory Bonds or what- 
ever they call them? Anyway, how 
many did we buy to keep 'em flying 
and all that chump bait stuff?" 

"Not any," said his business manager 
coldly, "you told me that with this new 
income tax you were already working 
for the Government anyhow and — " 

"All right, all right," the great Dorsey 
yelped at him, "but no little Hollywood 
firecracker is going to get ahead of me. 
Get me whatever I should get — you got 
a boy in the Army, haven't you — well, 
you ought to know — and get 'em quick. 
Let me tell you one thing. I can't direct 
any dame unless I got the upper hand 
of her somehow — even if it's only to have 
more Bonds than she's got." 

INTO his interoffice phone, T. J. said, 
"Merritt? Dorsey 's changed his mind. 
He says now he can use a new gal, Janice 
Faulkner. So we got Ramsey all right — 
now she can do that radio show to sell 
Bonds and make a tour of the Army 
camps to amuse the boys like you wanted 
her to. 

"Sure — Gilda Ramsey's the most pop- 
ular one with the boys, so I guess they'll 
be pleased all right — I always wanted 
to do it, see, only if she had to do the 
Dorsey picture, with all the money I 
got tied up in it, I couldn't manage it. 
So now you tell 'em it's all set — she can 
get started any time now — that's our part 
we can do for now, Merritt!" .... 

Betty climbed back into the roadster. 
"It was swell of you to wait and take me 
back," she said politely. "Lookit." She 
showed Janice the book, with the Defense 
Stamp in it all ready to take to school 
the next day. 

"You're a good American, pal," Janice 
said. 

Betty was staring straight ahead 
through the windshield. Maybe this 
summer wouldn't be quite up to par like 
summers had been, but, anyway, there 
would be lots and lots more summers 
and none of them would be so very much 
older — it was like the song, "There'll 
always be an England." 

They'd pitch in and clean up on the 
enemy no matter how hard it was, so 
there'd always be a beach and an ocean 
where kids could play and be happy — 
and free. . . . 

She could send Johnny a penny post 
card. She'd swiped one off the photo- 
grapher's desk. 

Then she realized Miss Faulkner had 
spoken to her. "I'm sorry," she said, 
"I got to thinking — what'd you say?" 
t "I said it was fine you bought your 
Defense Stamp and — made a sacrifice to 
do it," Janice said. 

The back of Betty's neck got red. "Y'see 
it's like it was on you alone," she mut- 
tered. 

"You never can tell," said Janice. 
The End 

JULY, 1942 



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(Continued from page 28) up to the car, 
said, "This is the day." They were mar- 
ried that night in Las Vegas. 

Then began the exciting, wondei-ful 
years in which she came of age, in every 
sense of the phrase; and they were years 
of progress, of a quiet kind of beauty 
contrasted with rigorous discipline and 
drudging work. It was great fun, being 
Mrs. Eddie Judson, at first. They couldn't 
make up their minds about the way they 
wanted to furnish their living room so 
for the first year they simply kept an 
electric train set up on the bare floor, to 
play with when Rita was bored. It was 
somehow symbolic; just as he made the 
train go round for the delight of his 
young wife, so he made a plaything of 
her career and showed her how to make 
it go. 

Publicity was the fuel that set every- 
thing in motion. They went to all the 
right clubs, where the photographers 
were; and the photographers took her 
pictures because, invariably, she was 
the smartest woman in the place. 
Proudly, Eddie watched the clippings in 
her press book fill and overflow the 
many pages; read over and over the cap- 
tions which called Rita Hayworth the 
"best-dressed woman in Hollywood," 
the paragraphs in columns like Fidler's 
and Parsons which told of her new 
popularity. 

She was taking Ann Sheridan's place 
at Warner Brothers, fulfilling her own 
contract at Columbia — and, at Twentieth 
Century-Fox, $150,000 was being spent 
to give her the best coat of glamour Hol- 
lywood could produce. She had been 
chosen from among thirty-eight ac- 
tresses for the role of Dona Sol, the vamp 
of "Blood And Sand" who lured Tyrone 
Power to his death. 

Every day, on the set, lovely little 
Rita put away her shyness and let her 
eyelids grow heavy over sultry eyes; 
moved her slim body in the inviting 
fashion of sirens from time immemorial; 
drew her smiling mouth a little awry. 

Every day, at six o'clock, she slipped 
into slacks and drove over to the West- 
wood house, wiped off the heavy make- 
up and removed her languorous false 
eyelashes. Then she settled down to be- 
ing just Mrs. Edward Judson. 

BUT as the tide of her rising success 
swept on there came, too, the inevi- 
table changes that develop in people at 
two such critical ages. For Rita, teen- 
age innocence became the exp>erienced, 
aware perception of womanhood. For 
Eddie, each precious year was harder to 
relinquish — or forgive. 

Then it was that Rita, in a measure, 
grew independent of everything Eddie 
had to offer her excepting his love alone. 
Her career was assured. Under his 
tutelage she had discovered poise and 
learned how to use it; she had developed 
herself as a personality and as an actress 
to the point where it was no longer 
necessary to ask his advice on every 
subject — and now, as a star, she was 
given the best directors, the most expert 
coaches and designers and make-up 
artists and press agents to guide her. 
j Money was no longer a consideration, 
either. She was beginning to make really 
respectable salaries on her own account. 

And, now that she was grown up and 
wiser in the ways of Hollywood, his 
original glamour for her must have 
begun to gray a little. You will remem- 
ber that she had never had a love affair 
before she met and married Eddie — and 
that during their life together she had 



been too good a wife, as well as too 
busy, to have more than a nodding or 
working acquaintance with another man. 

But any woman, especially one as 
beautiful as Rita, would be inhuman if 
she did not discover that she was attrac- 
tive to all men, young and old, handsome 
or not. 

There are some things a woman can't 
gainsay, some emotions she cannot make 
still, be she ever so pale a personality, 
ever so spiritless a human animal. And 
if you have ever known Rita Hayworth 
in the gorgeous flesh you understand that 
vivid color, voluptuous vitality, eager 
spirit are her adjectives, adventure and 
change her synonyms. 

So that in the end, when she had de- 
cided that she was ready and that she 
had not even the old love for Eddie to 
hold her back, she freed herself with one 
swift stroke. Then, almost immediately, 
there was foreshadowed the possible 
effect on Rita's future and career of her 
decision — for, acting for the first time in 
her life without the guidance of her 
father or Eddie, she started her divorce 
proceedings in the wrong direction. In 
the belief that the court would keep 
secret the charges she was making 
against Eddie, she accused him of treat- 
ing her as an investment, demanding a 
large sum of money in return for the 
time and funds he had spent on her. The 
court refused her plea of secrecy, pub- 
lished the case and the resulting pub- 
licity revealed that what had been an- 
nounced as an amicable parting of the 
ways was in reality a battle royal. 

That was bad enough, from the stand - 
' point of her career. But then something 
happened — something between Rita and 
Eddie, in conference — and she withdrew 
the charges. But she did not go back to 
him, or hint of a reconciliation. . . . 

Ah, what a field day that was for the 
gossips! What, they asked darkly, did 
Ed Judson know about his wife that 
empowered him to force her withdrawal 
of those charges? The gossips answered 
their own question, complete with de- 
tails. None of the stories was the same, 
of course — they never are — and by the 
same token, none was pleasant. 

There is another question, of far 
greater significance, which Rita Hay- 
worth's studio bosses and perhaps even 
Rita herself -are asking now. Can she 
make her way alone, using her own un- 
developed judgment, without experience 
and without counsel? 

Will she know how to protect her 
famous, valuable name against the ever- 
present threat of scandal that dogs every 
film star? Will she wear the right 
clothes at the right places with the right 
people? Has she learned enough, during 
her five years with Eddie, to round out 
and finish the personality he created 
around her? 

Or will she use the freedom for which 
she planned and fought so daringly to 
destroy herself? 

Will her heart, careless and young and 
yearning for the romance she has never 
known, betray her finally? 

All the answers lie, of course, with 
Rita herself. One thing is true; Ed Jud- 
son could not have made her the star she 
is. if she had not had what it takes. 
She still has that, will always have it. 

Whatever happens, you can be sure 
that the story of Rita Hayworth's next 
five years will be full of color and glitter 
and excitement; and she will live — and 
love — every minute of them. 

The End 



7C 



PHOTOPLAY combined with movie mirror 



The Love Dilemma of 
Jean Gabin 

(Continued from page 67) real pals." 

The great feminine influence in Cabin's 
romantic harum-scarum life has been 
Doryane, the Venus of French musical 
comedies. She was the toast of the old 
Paris and Gabin was nobody when they 
married and, as he says with his charac- 
teristic modesty and frankness, she made 
him what he is. Doryane had surpassing 
beauty, wit, charm, worldly wisdom and 
a business acumen which he sorely lacks, 
having no money sense. Gabin was the 
envy of a million men. She was two 
years older than he, tall, with the car- 
riage of a princess, given to making 
dramatic entrances, taking applause and 
adulation for granted. 

But their personalities clashed, both 
being of strong character. In making 
Gabin over, this stately brunette siren of 
effervescent French revues assumed a 
dominating p>osition — and he is one of 
those men who can't be dominated by 
women. He acknowledged her superior 
abilities but he rebelled. Their repeated 
quarrels led to a final separation two 
years ago, whjch, no matter how much 
he tries to hide it, left an unhealed wound 
in his stormy heart. In contrast, his life 
has been too easy in Hollywood, and he 
misses those arguments and reconcilia- 
tions with his wife; it seems to him as 
though the tang of life is gone, for if 
you dig into his heart deep enough, you'll 
find there this beautiful woman's image 
enshrined in unforgettable memories. He 
may not want to admit it, but their sep- 
aration was like a psychic surgical op- 
eration for him. He still loves her and 
will probably love her forever. 

IT was in that emotional state of a 
wrecked marriage, with all its sorrow, 
bitterness and pain, that he arrived in 
Hollywood as the highest salaried star on 
the Twentieth Century-Fox lot, with 
the right to choose his stories, di- 
rectors, feminine leads — a privilege en- 
joyed by no other player at this studio. 
Mr. Zanuck signed him on his European 
reputation as the greatest actor of modern 
France — and already, by his very first 
picture, in spite of the serious handicap 
of language, he has smashed his way to 
a compelling position on the American 
screen. "Moontide" is a hit, another per- 
sonal triumph for him. And in one year 
he has learned to express himself in 
fluent and colloquial English — surprising 
all his friends, who thought he couldn't 
do it, for Cabin isn't the studious, scholar- 
ly type. Most surprised of all must be 
Charles Boyer! He was skeptical of his 
rival's ability to learn a new language 
at thirty-seven. For Boyer, learning 
English has been a herculean task. 
What's even more remarkable, Cabin 
hardly has a trace of foreign accent. 
Strangely enough he never had it. We 
remarked this on first meeting him, to his 
vast pleasure, when he knew perhaps 
fifteen words of English. 
! In no time at all Gabin made romantic 
history in Hollywood by letting himself 
be discovered first by Marlene Dietrich, 
then by Ginger Rogers, causing a sensa- 
j tional competition between these two con- 
noisseurs of men. But before we go into 
' the details of this intriguing triangle, 
let's see what kind of man Gabin really 
is — minus all the publicity and star- 
trappings. What makes him tick with 
women and what type of woman can 
tame him would be evident from the 
following complete self-revelation he re- 
cently made to us on the set of "Moon- 
tide." Never before has he talked so 




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frankly and earnestly about himself. 

"I have had the most wonderful life 
in the world," he said, lighting a ciga- 
rette, as he sat in a canvas chair and 
stretched out his legs. "I don't think 
anybody has lived as full a life as I 
have. Nobody. I have really lived." 

"And loved," we interposed. 

"And loved," with an emphatic nod 
of his tigerish head. "And suffered. If 
you don't suffer in this world you don't 
appreciate the wonderful things of life. 
I suffered for everything — for love, career, 
everything. But I am happy. Yes, I am. 
Life is wonderful." He paused, began 
to whistle a tune, a far-off dreamy look 
in his burning eyes. "I could be killed 
in the war, but I am alive. I am a lucky 
guy. For myself, I can say I am happy. 
But I have a nephew in a German 
prison camp. I raised him myself, we 
were very close, pals. I used to send 
him food parcels, but now I can't do even 
that. I have also two sisters in France. 
That is my only worry. Otherwise, I 
have no complaints. I am a lucky guy," 
he repeated thoughtfully. 

"And you have no regrets?" 

"No. If I could live my life over again, 
I would do the same thing. Absolutely. 
Even if I tried to do the opposite I know 
I would do the same thing. You may 
call me a fatalist. We are what we are. 
We can't help ourselves. The important 
thing in life is to realize that you are 
happy, because alive. To be conscious 
of your good luck. Then life becomes 
wonderful. I have wonderful souvenirs." 
He sighed, his eyes narrowed. "Even 
my deceptions are wonderful souvenirs. 
Yes, especially my deceptions." 

Sucking his cigarette greedily, he con- 
tinued: "Now life just begins for me, 
and I have lived before. I don't know 
what will happen to me from now on, 
I make no plans. But I am not afraid. 
Life is an adventure and I can't com- 
plain. Millions of people would like to 
be in my place. That I realize." 

He whistled again, and sang under his 
breath. 

MARCEL his stand-in brought us 
coffee. "Millions like to be in my 
place," Gabin repeated. "The world is in 
flames, because men are crazy. You don't 
know why, but they are crazy. People 
forget that they are just temporary guests 
on this earth, they forget that they will 
end up in a little box, and then all will 
be finished. If people will realize that, 
then they will really live. And you don't 
know the day, the hour or the minute 
when that will happen. But I don't 
forget that, never — and I live. You hurt 
people, you hurt yourself, you busy your- 
self with little things — and everything 
ends in that box. Always. That's the 
only thing you are absolutely sure in this 
world. 

"I tell you something — " he leaned for- 
ward, the sorrows of the world in his 
eyes. "I can die tomorrow, I am still 
quite young, but it wouldn't matter. Be- 
cause I have lived. I started life broke. 
I enjoyed life just as much when I was 
broke, but in another way. I worked. 
I worked hard for everything I have, 
and luck helped me. That's the differ- 
ence between what is called success, and 
what is called failure — when you get a 
chance, you take it.'" Suddenly he 
checked himself and relapsed into French. 
"Mais c'est une dissertation philos- 
ophique." 

"Jean, that's all vei-y interesting. But 
your American fans would like to know 
more about your love life, for you're 
being hailed by women as the hottest 
lover that ever hit Hollywood." 

"Who, me'?" He rubbed his chin. 



twisted his mouth, grinning. "But I have 
no romances," he said — tongue in cheek. 

"Don't you intend to marry again?" 

He shook his head. "No, I do not think 
so." 

"Don't be too sure — these love bandits 
of Beverly Hills might wrap you around 
their little fingers — and you'll go the way 
of all men before you know what's hap- 
pened." 

He smiled a little sadly, his eyes cloud- 
ing. It was evident the whole drama 
of his marriage with Doryane came be- 
fore his eyes. "I have my head on my 
shoulders," he answered. "Believe me. 
I know women!" 

THIS led to a discussion of the qualities 
' that make women attractive to him. A 
woman, he asserted, must first of all be 
feminine. No matter what she does she 
must stay feminine. And real femininity 
is primarily kindness and pity for the 
sufferings of others; a woman who lacks 
this sympathetic attitude and this sensi- 
bility cannot be truly feminine. As there 
is great love for suffering mankind in 
Cabin's heart, as his fundamental charac- 
teristic is a brooding, not to say raging, 
pity for his fellow men, a woman must 
understand this side of his nature and 
fully share it herself to appeal to him. 
He cannot tolerate callousness and cruelty 
in women and is disturbed when he sees 
a woman screaming with delight at a 
boxing match or a bull fight. On the 
other hand, tennis, swimming, skiing and 
such sports add to a girl's feminine 
charms, by making her healthier and 
more graceful in her movements. 

Intelligence is definitely an asset for a 
woman and he cannot imagine true 
beauty without intelligence, for it"s the 
inner glow, it's the spice of life, the salt 
of love. There can be no keen sensitivity 
without a high degree of intelligence. 
Moreover, he is invariably attracted to 
women who are essentially serious, though 
they have their gay moments. Constant 
frivolity and lightheartedness indicate 
emotional immaturity. 

Gabin likes spunk, willingness to gam- 
ble, to live and love dangerously: he 
likes to have a woman fight with him for 
the things he values, and who like him 
doesn't forget that we are caged, doomed 
creatures and everything will end in 
that box. So, he says, let's live while 
we're still alive, and of course there can 
be no real living without loving. To 
sum up his requirements for his favo- 
rite feminine type: She must have the 
mind of a man with the heart and body 
of a woman. 

THIS explains Marlene Dietrich's hold 
on him. That in many ways she re- 
minds him of Doryane goes without say- 
ing. She is older, intelhgent, well read, 
worldly, feminine, has the mind of a man 
and the body of a woman. She is essen- 
tially serious and as she herself told us 
once she is one of those women who 
enjoys being miserable, who is gay in 
her sadness. When he first came to 
Hollywood she claimed him promptly- 
the elemental and eternal woman in- 
stantly recognizing her counterpart in 
Gabin. She took him around, showed 
him the ropes. Her expert knowledge 
of French heljjed. He didn't have tc 
thumb a dictionary with her. 

But Gabin hadn't forgotten the times he 
had sat in a Paris movie theater and 
watched with the mind of an artist and 
the heart of a man every Ginger Rogers 
picture that was shown in France 
She played chorus girls, dancers, white 
collar girls. She was simple and direct 
and of the people. He understood what 
it was to be of the people. So when 



78 



PHOTOPLAY cojnbi?ied with movie mirror 



he was asked on his arrival in New York 
what Hollywood star he would most 
prefer to meet his answer was brief 
and to the point: "Ginger Rogers." 

Ginger, for her part, had studied 
breathlessly every film of Cabin's that 
had come to this country. Thus when 
fate placed these two strangers with a 
gi'eat mutual admiration for each other 
on the same studio lot, Gabin was not the 
man to bite the hand of opportunity. He 
sent her flowers. And Ginger was not the 
girl to pass up a gracious acknowledg- 
ment. With a vocabulary of "Hello," 
"steak" and "demitasse," he invited her 
to dinner. She accepted and they beamed 
and beamed at each other — and that was 
all. That is, until Gabin learned English. 
Then he laid siege to Ginger's social 
calendar. He stormed the Rogers citadel 
with flowers. They went on long drives 
together, bicycled together, dined and 
danced at the favorite nocturnal salons 
of the town's night life. And Ginger, 
of the nimble feet, found that Gabin was 
no slouch as a dancer, with years of 
professional dancing behind . him. 

When Gabin had to go to New York 
for the premiere of his sensational pic- 
ture, "Moontide," Ginger miraculously 
appeared in town. They were seen every- 
where together, rapt and enraptured. 

WHAT did Marlene do? How did she 
react to Ginger's seeming triumph 
over her, the queen of glamour, the god- 
ness of them all? This was the greatest 
challenge she had received in her hectic 
male-conquering life. She is, or can be, a 
darling, but there's no denying she still 
believes — not without reason — in the 
metaphysical picture of herself created 
by the doctors of movie mythology some 
eight or nine years ago. 

Well, a bird has told us the great 
Marlene went to Gabin's house, after his 
return from the East, put up an eloquent 
battle for her place in the Gabin sun, as 
only Marlene could. And so Gabin left 
Ginger — or she left him — and resumed 
his romance with Marlene, which is now 
stronger than ever, and there's no pos- 
sibility of Ginger's ever coming back into 
the picture, according to all indications. 

It's interesting, however, to note, that 
while he sent flowers to Miss Rogers 
during that interlude, he doesn't send 
any to Marlene. It's La Dietrich who 
sends the flowers — every day. What 
a man, what a man! Gabin is wise 
enough to let the women do the chasing. 
But he isn't spoiled. He considers himself 
just a lucky guy, and remembers that 
box. 

To be sure, he asserts he is happy just 
to be alive, but when you talk with him 
you can't fail to notice the emotional 
tension — the dilemma — he is in. He isn't 
really gay about his romance with Mar- 
lene — he wasn't gay during his brief ro- 
mance with Ginger. In the background 
there's Doryane's image, always; the wo- 
man he married, who made him suffer, 
but whom he still loves. Gabin is like 
a man who doesn't know which way to 
turn; there is the pain of perplexity in 
his eyes. He sings, whistles, yells lustily, 
but somehow there's always a note of 
pain in his voice. 

Is Marlene Dietrich his Lady Eve? We 
doubt if he himself knows the answer. 
When we asked him, reminding him of 
jhis promise a year ago, he pleaded: 
1 "Give me another six months and I will 
'tell you everything. Right now . . ." 
jhe shrugged his big shoulders, looked 
; dreamily away, then smiling, like a young 
boy in a daze, "I don't know." And he 
began to whistle again a sentimental 
tune. 

^ The End 

JULY. 1942 



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80 



{Continued from page 57) does a 
devastating imitation, but whatever it is 
you are suddenly giggling, and loving 
him for it." 

As for Roz Russell, you know how she 
feels about Cary when you remember 
that she had him as best man at her 
wedding. What's more, Cary is never 
happier than when playing with one or 
the other of them. 

Nevertheless, Roz, the rational, the 
witty, did not get along with her co-star 
Clark Gable when they played together 
for the first and, if Mr. G. has anything 
to do with it, most certainly the last 
time in "They Met In Bombay." The air 
on that set was so cold that ear muffs 
were in order, a striking change from 
the usual Gable set where the leading 
lady generally glows like a cast-iron 
stove just because Public He-Man Num- 
ber One is within eye range. Even 
Claudette Colbert, to whom a leading 
man is just a leading man and nothing 
more, is always aware that Clark Gable 
is Clark Gable. Lana Turner, never chilly 
at best, found Mr. Gable something very 
cozy with which to share star billing. 
Whatever it was that annoyed Russell 
with Gable and vice versa they two never 
revealed, but their antagonism to one 
another was about as secret as a nation- 
wide hookup. 

Life is just a bowl of nettles between 
Shearer and Taylor, too. While Taylor 
doesn't necessarily raise his leading 
ladies' temperatures as Gable does, he is 
extremely popular with them. But he 
and Shearer would shoot at sight if they 
thought they could get away with it. 

Joan Crawford, who always gets along 
with the boys, doesn't seem to blossom 
when feminine co-stars are about. When 
she and Greer Garson were making 
"When Ladies Meet," it is told that 
Herbert Marshall walked on the set one 
morning and, sensing the social tempera- 
ture, turned up his coat collar and re- 
marked to the set in general, "I fancy 
we shall have snow before lunchtime." 

THERE is a crowd in Hollywood which 
' insists that Judy Garland was once very 
much in love with Mickey Rooney. 
Whether or not that was true I don't 
know, but certain it is that Mickey never 
loved Judy. However, he always has ad- 
mired Judy terrifically. He thinks she 
is just about the world's finest singer 
and doesn't hesitate to say so. He hap- 
pily will give her the center of attention 
in any scene. This produces great 
warmth and charm for their productions 
and their close friendship looks set to 
go on forever. 

The same is true of Loy and Powell. 
Never romantic about one another, they 
are really pals. Bill feels very protec- 
tive toward "little Myrna" as he calls 
her. Myrna makes Bill her great con- 
fidant. Their mutual fondness is re- 
flected on the screen, too. This close 
friendliness goes for MacDonald and 
Eddy, also, though, as much as their pub- 
lic wished them to be, they were never 
in love. 

But when you come to a pair of bud- 
dies, everything pales beside Crosby and 
Hope. Two men couldn't be more unlike. 
Bob is all boundless, restless energy, 
Bing all casual sleepiness. Bob works 
like a truck horse. Bing works, but like 
a Crosby horse, which means he moves as 
slowly as can be. But together they are 
something that drives the entire Para- 
mount studio nuts. It isn't that they 
don't get along; it isn't that they don't 
agree on everything. The trouble is 
that they do. They like the same golf 



links; they like the same jokes. They 
laugh at the same wisecracks. 

They both share the general Hollywood 
opinion that Dotty Lamour is the tops in 
swell people, but nothing makes their 
day like teasing her into the screaming 
meemies. 

"I think the links are calling, Robert," 
Bing will say in the middle of a scene. 

"What are we waiting for?" Hope asks 
and if they are not absolutely tied down 
with hawsers away they will glide, while 
Lamour swoons. 

No one ever knows how a Crosby- 
Hope picture will go, how long the 
scenes will run or whether one scene 
or two dozen will be finished in a given 
day. The front office goes gray and 
would revolt completely if it weren't for 
that all-important fact of those Crosby- 
Hope-Lamour gate receipts. 

THE tough thing about all this is that 
where co-stars are compatible, it means 
dollars at the box office. The public 
senses when actors are having a good 
time together and it is positively psychic 
about knowing when two stars are in 
love. 

One of the elements that made "Dark 
Victory" sufficiently memorable to keep 
it in circulation for the past four years 
was the flame of sympathy that leaped 
to life between Bette Davis and George 
Brent and subsequently blazed into a 
romance. Similarly Dorothy Lamour 
and Robert Preston, during the filming 
of "Typhoon," were on the threshold of 
a love affair that promised a run on the 
box office which never materialized due 
to the untimely end of their interest in 
each other. 

Recently two pictures in particular 
have had love scenes which sizzled so 
much that the films were box-office riots, 
but neither romance lasted beyond the 
shooting schedule since in each case one 
partner in the acting pair was extremely 
married. 

But the romance which has lasted far 
beyond two shooting schedules is the 
flourishing case of Madeleine Carroll and 
Stirling Hayden. They met on location 
for the film "Virginia." It was Stirling's 
first bout with a camera and this strap- 
ping young son of the sea was pretty 
thoroughly bewildered. To his rescue 
came Madeleine, adroit artisan of the 
screen and charming, sophisticated lady. 
A highly sentimental rescue it proved to 
be. 

Sensing a new team, Paramount broke 
up the long-standing combination of 
Fred MacMurray and Madeleine Car- 
roll to throw Stirling opposite Madeleine 
in her next picture. "Bahama Passage." 

The romance bloomed hot and heavy 
until it struck the impasse of Stirling's 
feeling about play-acting when there was 
a war going on and Madeleine's hesi- 
tancy about marriage. 

The Hayden lad promptly departed 
for service on the high seas and Made- 
leine went through the motions of con- 
tinuing her career. Then came the an- 
nouncement that Miss Carroll was tak- 
ing a year's leave of absence. Just tired, 
was the official report. But it is about 
as secret as the attack on Pearl Harbor 
that Madeleine is hovering in the East 
to be near the ports that sailor Stirling 
may hit. 

And for such co-starred romance the 
public will pay and pay and for that 
reason the producers will go on creating 
co-starring films, always fondly hoping 
for the one that will leaH to love rather 
than to larceny. 

The End 

PHOTOPLAY combined jritfi movie mirror 



The Strange Case of 
Lew Ayres 

(Continued from page 29) collectively, 
all who opposed them. We closed our 
eyes to theh- treacheries and our ears to 
the cries of their dying. Then on Decem- 
ber 7, 1941, the Axis powers, grown 
mighty through their per.secutions and 
plundering, made undeclared war upon 
us. 

We fight now for survival. There is no 
sacrifice too great. This above all, free- 
dom must not perish from the earth! 
' What manner of man is Lew Ayres 
that he dares stand aside and put his 
personal ideologies before the world's 
tortured realities? 

! He's a strange man, very strange. But 
jhe's sincere, too. Often it's his extreme 
sincerity that makes him strange. 

His refusal to bear arms isn't born of 
any newly acquired philosophy with 
which he hopes to save his skin. For 
years he's loathed killing of any kind and 
eaten nothing that is killed. He stands 
ready to serve in any noncombatant 
branch of the service, provided only he's 
not required to swear he will bear arms 
when he takes his oath of allegiance. 

Intensely interested in the preserva- 
tion of life, he's made a serious study of 
First Aid and of medicine. He hopes, 
therefore, that he will be assigned to the 
Medical Corps. Proving again that he 
isn't a coward. For in the Medical Corps 
he might very well be under fire. 

A LWAYS Lew's been too sensitive and 
'* impressionable for his own good. He 
began overreacting to things and collect- 
ing hurts when he was very young. His 
Darents had little money. The house in 
ivhich they lived was small. Whenever 
Mr. Ayres, a cellist with the Minneapolis 
Symphony Orchestra, was home, Lew 
.vaited for the chords of Wagner or Bee- 
;hoven to crash against his ears. While 
le waited he trembled. He knew how 
lis mother's face would tighten, how her 
/oice would sharpen. And he would hold 
limself tense, listening for the first loud 
A^ords of another nervous, overwrought 
quarrel. 

He was only four when his parents 
separated. Their unhappiness would 
lave been forgotten soon enough by most 
:hildren. Lew never forgot it. Long after 
le came to Hollywood he was still re- 
nembering. "I want money," he always 
;aid, "because it buys personal freedom 
md personal freedom is essential to 
lappiness. I'll go to my grave believing 
f we had had more money my mother 
md father still would be living together. 
Dur house was too small to permit Dad 
lis music and Mother her quiet." 

At seventeen Lew had an experience 
Jiat left its mark upon him. 
I He was playing a banjo in a jazz band. 
In Mexico, at Nogales and Tia Juana, 
the band was a tremendous success and 
ke was an even greater success. The 
^e women adored him. They called him 
Baby Face. They tried to kiss him and 
they stroked his arm. He pitied them 
with their dreamless eyes. But he was 
Sickened by their slack faces. Finally, 
unwilling to endure it any longer, he quit 
the band and the seventy-five dollars a 
pveek it paid him and prospected, in the 

rountains of the southwest, for gold. 
This was his first retreat from reality. 
It also was the beginning of what was to 
become his personal pattern and turn 
him into a recluse on a Hollywood hilltop. 

At twenty, entrusted with the role of 
Paul Baumer in "All Quiet On The West- 
ern Front," Lew was sure the turning 
point in his life had come. 

jjuiY, 1942 




This was it . . . the real thing . . . the night you dreamed about 
ever since freckles and pigtails. 

And now you re-live every precious minute . . . 
That look in his eyes when you floated down the staircase. 
The way he held you close as you danced. And how he sulked, 
when the stag line caught up with you! 

Then like the climax to a great play ... he suggested a stroll 
in the moonlight. You felt like a leading lady, walking 
with him on the terrace . . . 

And to think you almost didn't go tonight . . . almost called it off! 
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It had, in more ways than one. 

He was a nobody when he played Paul, 
but the most finished actor in Hollywood 
couldn't have approached his perform- 
ance. Every sensitive, impressionable 
year he had lived had been training for 
this role. He made the scene where Paul, 
the soldier, releases a butterfly from the 
wire of the trench something immortal. 
And it made him famous. His name 
was on everyone's lips. In popularity 
contests he was voted King of the Movies. 
They raised his salary from two hundred 
and fifty dollars a week to seven hundred 
and fifty dollars a week. He should have 
been gloriously happy. Instead he was 
bewildered and heartsick and miserable. 

Six months "All Quiet On The Western 
Front" was in production. For Lew they 
hadn't been six months of make-believe. 
They had been six months of war. He 
had believed the whine of the bursting 
shells and the screams of hate and the 
moans of the dying. 

He began talking against war, against 
killing. He began brooding over man's 
inhumanity to man. He began retreating 
from reality. He bought a telescope and 
he peered, hours on end, at the stars 
from the Observatory at Mount Wilson. 

"I can't seem to snap out of it," he told 
a friend. "People call me up and say, 
'Let's do so and so!' And I can't. The 
things they propose seem so futile, so 
silly!" 

At last, in a frantic effort to shake off 
the depression into which the "six months 
of war" had plunged him, he began going 
out again. He met Lola Lane. They fell 
in love and they were married. 

Poor Lew! Poor Lola! They didn't 
have a chance. It wasn't fair that two 
young things who were spiritually and 
mentally strangers should love each other 
so wildly. 

Lola was proud of Lew's career. She 
tried to help him. 

"Let's go dancing," she used to pro- 
pose. "Let's give a party!" "Let's go to 
that shindig Mr. Blatz is giving next 
Sunday. We don't have to stay long!" 

She knew Hollywood. She knew the 
importance of being seen at the right 
places with the right people. She didn't 
underestimate Lew's performance as 
Paul Baumer. But she knew the more 
he was out of sight the more he would 
be out of mind. 

The few times they went places and 
did things Lola wasn't fooled by Holly- 



wood's insincerity. But she didn't let it 
worry her too much. She dressed up and 
looked beautiful and had fun. Lew, on 
the contrary, was miserable. He practi- 
cally flinched at every compliment and 
overture he thought insincere. And 
finally he refused to go out any more. 
Lola protested. And, holding himself 
tense, Lew buried his nose in a book 
by another philosopher he had discov- 
ered and tried not to hear the angry 
things Lola was saying to him. 

At last she divorced him. No one 
blamed her; Lew least of all. 

Then came a week end Lew never will 
forget. With friends he hunted wild boar 
at Catalina. Before they were out an 
hour he saw a sow shot and heard her 
scream like a woman. And when her 
screams brought her five baby pigs run- 
ning they were shot, too, and they, too, 
screamed like humans. 

It was more than Lew could take. He 
quit the long argument he had been 
having with himself. He knew, for him, 
killing was unforgivable, not only the 
killing of men but also the killing of 
animals. He put his guns away. He told 
his houseman that nothing that was killed 
was ever again to appear on his table. 

THE best thing that ever happened to 
' Lew was Ginger Rogers. If they had 
met before Lew became quite so fixed 
in his habit of silence and retreat they 
might have been happy together. They 
had much in common. They modeled in 
clay. They sat up half the night listening 
to phonograph recordings of the sym- 
phonies. Over and over they played 
Tschaikowsky and Stravinsky. But at 
other times Ginger couldn't reach Lew. 
At other times he would read all night 
and sleep all day or spend hours peering 
through his telescope or charting storms 
and air waves on his weather map. If 
Ginger spoke he wouldn't hear. At least 
he wouldn't answer. More than once she 
ordered a new dress for a particular 
party and he refused, absolutely, to go. 

Her career was rising. His, inevitably, 
was ebbing. 

They parted, of course. But they parted 
as friends and they're friends still. They 
had dinner together a few nights before 
Lew left for that camp in Oregon. When 
he told Ginger of the stand he was aoout 
to take she may have reminded him, 
softly, of all it would cost him. But after 
that you may be sure she only kissed 



THE STARS SAY THIS FOR LEW AYRES 

BY MATILDA TROTTER 
Pho+oplay-Movie Mirror's Remarkable As+rologist 

LEW AYRES has one of the most unusual charts ever drawn up. The stars 
foretell conflict, loneliness and despair to the point of desperation, 
which seem to reach a culmination during the last week of May, 1942. At 
that time Lew Ayres will go through one of the most critical periods of 
his life, hie will be in grave mental and physical danger. 

If he comes through this crucial time, July 13 marks a turning point for 
the better. There is a breaking up of the conditions and ideas which have 
bound him. A new light dawns to open up a fresh vista, with a chance 
to prove his true worth, and around the last of August or early September 
he may leave this country on a secret mission, for the stars Indicate favor 
for Lew In work of a confidential nature. 

The month of October will be vital for the whole world and It brings 
Lew Ayres the opportunity to return to public favor by an act of courage 
and daring. October 10 should be a very Important date for him. 

The turbulent year of 1942 ends by bringing to the name of Lew Ayres 
honor and distinction from friends and superiors. 

★ ★★★**■*■ 

PHOTOPLAY combined with Movir mirror 



him and hoped he would find things 
tolerable, at least, along his way. 

Ginger knows what Hollywood has 
been slow to learn — that Lew's as he is 
and nobody is going to change him. 

Often he appears selfish and unreason- 
able. He's frequently moody. But he's 
completely faithful to his personal stan- 
dards. In his own fashion he's even 
rallied to this war. 

He gave generously to the Red Cross 
and refused to have his donations publi- 
cized. He has conducted three different 
classes in First Aid, teaching every night 
in the week but Sunday. And now he's 
ready and willing to serve in the Medical 
Corps or any other noncombatant branch 
of the service. He refuses only to 
shoulder arms. 

I remember a luncheon I had with Lew 
a few years ago, when Metro signed him 
to a contract and his career was begin- 
ning all over again. He was supposed to 
give me an interview about his years of 
failure. But he wouldn't. The years he 
didn't work, the years he sat alone on 
his hilltop seeing practically nobody but 
Ken Murray and Billy Bakewell, his 
two close friends, the years he spent 
reading the philosophers, studying the 
stars and playing his organ, he doesn't 
count as failure. 

"I don't think a fall from eminence is 
failure," he said that day, "unless you 
turn it into that by neglecting to use 
the time it gives you for your personal 
advantage. 

"It's only looking back that we ever 
know what helped and what hindered 
us. Often enough detours from things 
as we would have wished them are what 
advance us. 

"I rather believe those years I didn't 
work are the most important years of 
my life. They didn't advance me as an 



actor, true. But they advanced me as a 
human being. And much as I value my 
career I can't believe my standing as an 
actor is as important as my standing as 
a man." 

THAT undoubtedly describes Lew's at- 
titude today. It isn't an attitude we 
share. It isn't an attitude we readily 
understand. But that it is a sincere atti- 
tude is indicated again by everything 
that Lester F. Miles, Ph.D., an eminent 
New York psychologist, has to say. 

"To make any professional statement 
regarding the action of Lew Ayres since 
I have never met him is a delicate task," 
Doctor Miles writes. "However, the per- 
sonal observations of those who have 
been close to him show in his life a 
series of systematized delnsions. 

"His delusions or beliefs — if you would 
call them beliefs — are not self-centered, 
related to his own body. Otherwise he 
would not be willing to expose himself 
to danger as a medical corps worker. His 
delusions or beliefs pertain, instead, to 
the objective world. He disagrees with 
the greedy aggression that is a world 
trend today. He also disagrees with our 
democratic desire to halt that aggression 
and to do it with force because we've 
found force to be the only argument the 
aggressors understand. 

"Many of Lew Ayres's personality traits 
and behaviorisms are typical of the para- 
noid temperament. The principle char- 
acteristic of this temperament is a highly 
stubborn adherence to fixed ideas — ideas 
which are self-formed from early en- 
vironment and result in a contempt for 
opinions of others if they do not con- 
form. 

"In all probability Mr. Ayres's com- 
plete aversion to force does not spring 
from witnessing the killing of animals. 
This probably was only one instance 



which served to remind him of his child- 
hood and the quarrels between his father 
and mother — since it is squarely upon his 
childhood that the burden of his present 
beliefs and actions rests. Likely, too, 
there were many other instances in his 
life, about which we know nothing, which 
kept the unhappy memories of his child- 
hood fresh in his mind. 

"Actually Mr. Ayres's early environ- 
ment wounded his sensitive mind as 
deeply and seriously as a physical acci- 
dent might have wounded his body. 
Following this his education and learn- 
ing, via the school of hard knocks, had 
a different effect upon him than it would 
have had upon most people. 

"Because we're unable to see mental 
differences in people it is difficult for us 
to appreciate these differences and allow 
for them. Lew Ayres should not be con- 
demned because he won't fight. He 
should have the same consideration he 
would receive if it were a physical dis- 
ability sustained long ago that made it 
impossible for him to shoulder a gun. 

" A CTUALLY the case of Lew Ayres 
shows what erroneous opinions and 
beliefs we may form if we run away 
from our problems instead of standing 
up to them. 

"Lew Ayres's quest for happiness 
chased him into a self-centered solitude. 
He never faced the realities of the world 
with any desire to overcome them or 
their unpleasantness. It would be dif- 
ficult for him to change now. Now his 
problems have licked him. 

"Fortunately Lew Ayres is only one 
case in many hundreds of thousands. 
Fortunately our country — individually 
and en masse — stands up to its problems 
and licks them." 

The End 



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(Continued from page 41) of a steam- 
ship line. As a child I was thoroughly 
schooled in the use of life belts, fire 
exits on boats, etc., and thus uncon- 
sciously associated danger with the water. 

10. (Q) When were you born? 

A. (Irene took the consequences. Give 
us a picture of yourself that you would 
not release for publication and tell us 
why.) The picture Irene had refused to 
release is shown on page 41. She is giv- 
ing her cook instructions on the occasion 
of Missy's birthday party. 

11. (Q) What one decision radically 
changed your life? 

A: I was on my way to teach school 
in East Chicago when I decided to' enter 
a voice contest at the Chicago Musical 
College. I made a pact with myself: if 
I lost, I would be content to teach school; 
if I won, there was a chance I might 
ultimately win real recognition and 
therefore would continue to try. I won 
the contest. 

12. (<p) Do you prefer Cory Grant or 
Charles Boyer as a leading man? 

A. (Irene took the consequences. Give 
us a picture of yourself in the awkward 
era from your private collection.) 

13. (Q) Why does your intimate circle 
of friends include so few movie people? 

A: Because I am married to a man 
who is not in the theatrical profession 
and he is more comfortable in friend- 
ships formed outside of it. Also, such 
friendships are more permanent because 
the people are more permanently located 
here. 

14. (Q) Why have you always been 
ultrareticent about your private life? 

A: 1 didn't realize I was, but, if so, 
it must be because I consider it so simple 
I don't see how it can interest anyone. 

15. (Q) What would be your reaction 
to discover another woman at a party 
wearing a duplicate of your dress? 

A: I had just that happen with a blue 
and white print dinner dress, and was I 
heartsick! It was a new dress for an 
important affair — my first evening at 
Monte Carlo in New York. I was em- 
barrassed, but I couldn't be angry be- 
cause Mr. X, who sold it to me in 
Hollywood, had warned me that there 
was one duplicate which had been sold 
to a Los Angeles society woman. And 
darned if, of all the women in the United 
States, that charming lady wasn't seated 
at the next table, wearing her dress like 
mine! 

16. (Q) Have you ever been played for 
a sucker? 

A: Heavens, yes! It is happening con- 
stantly. The last time was on a trip to 
New York and, while it was a trivial 
matter, it really irked me. I was buying 
an eyebrow pencil which I knew cost 
twenty-five cents because the woman just 
ahead of me purchased one just like it 
for that price. When the clerk recognized 
me, she said, "Fifty cents!" I paid it be- 
cause I was on the spot; if I objected it 
might cause a scene and unpleasantness 
which anyone in the limelight cannot 
afford. But I'll never step foot in that 
store again. 

17. (Q) Who is Hollywood's best ofF- 
screen dancer? 

A: My choice is George Murphy, be- 
cause he doesn't take his dancing as a 
professionally serious matter. 

18. (Q) What is the most contro- 
versial subject in your household? 

A: The education of children. Doctor 
is inclined to be strict about study and 
scholastic progress, and favors private 
schools for our Missy. I feel there are 
other phases of development as important 
as scholastic perfection and believe the 



activities and enviromnent of public 
schools and colleges are essential to a 
well-rounded education. 

19. (Q) What were the high spots in 
your life between the years one to ten; 
ten to twenty; and twenty to thirty? 

A: One to ten: A Fourth of July cele- 
bration in Louisville when a skyrocket 
went through the straw hat of the man 
next door and burned his bald head. 
Such excitement! Ten to twenty: When 
a chap in Madison, Indiana, came home 
from Virginia Military Institute and gave 
me his blue sweater with the letters VMI 
on it. What a heart throb! Twenty to 
thirty: When Flo Ziegfeld sat in the 
second row of "Showboat" and sent back 
a personal note saying I was wonderful! 

20. (Q) Who is Hollywood's best 
dressed woman in your opinion? 

A. (Irene took the consequences. Let 
us photograph some of j'our most cher- 
ished keepsakes.) 

21. (Q) Do you smoke in private life? 
A: Did you hear I did? No, I've never 

developed a taste for it. 

22. (Q) Do you plan to adopt more 
children? 

A: I'd like to have five or six if they 
would fit into the harmony of our home. 
No immediate plans. 

23. (9) Of what personal habit are 
you ashamed? 

A: Leaning on my elbows at the table. 
I know it's wrong but I keep on doing it! 

24. (Q) Why do you think people con- 
sider you standoffish? 

A: Because I do not tell naughty 
stories. 

25. (Q) What physical feature have 
you tried to change? 

A: My eyebrows. I try to give them 
a higher arch than nature effected. 

26. (Q) What do you consider your 
best quality as a wife? 

A: The consideration I try to have for 
others. 

27. (Q) And the worst quality as a 
wife? 

A: My lack of punctuality at mealtime. 
The End 




Irene pays off for not answer- 
ing Question 20 by releasing a 
picture of her most cherished 
keepsakes. They are (above) a 
music box given her by a direc- 
tor, a fan, the gift of a great 
actress to whom Irene has always 
looked for inspiration, and a rosa-, 
ry, given her by a very close wom- 
an friend whom she knew long ago 
and whose courage has always 
been a stirring memory to her 



84 



PHOTOPLAY combined with mo\ie nhrror 



{Continued from page 19) "Hold Back 
The Dawn": A mist of human tears 
rises on a glorious new day. 

"How Green Was My Valley": Nos- 
talgia for lost youth re-creates a beau- 
tiful scene. 

"Shanghai Gesture ': Ham, and stale 
ham at that. 

"Dumbo": Animals are certainly nicer 
than people and Walt Disney knows 
it. 

"Sergeant York": Spirit of 76 grown 
up into long-legged Gary Cooper. 

"Bahama Passage": Would make a 
beautiful magazine cover, period. 

Mrs. Sylvia S. Pitkin, 
Montpelier, Vt. 

$1.00 PRIZE 
Dream Stuff 

SINCE cinematically feasting upon "Song 
Of The Islands," my song has been of 
Grable! 

To express in twenty or thirty dozen 
words what she does with one sweep of 
her lashes; to be as enchanting in one 
of Adrian's super-dup>er models as she 
is in a handful of straw; to be as capti- 
vating in a lifetime as she is with a 
mere half-smile! 

"Blue Shadows and White Gardenias!" 
If these attainments could be mine, I'd 
wade the South Seas, weave a grass skirt 
and smile enigmatically while Victor 
Mature whispered softly, "Sing Me A 
Song Of The Islands"! 

Well, gee, I can dream, can't I? 
Sincerely, 
RuBYE M. Chapman, 
Birmingham, Ala. 



Speak For Yourself 

$1.00 PRIZE 

Breaking the Rules 

AA AYBE it is because women are First 
Aid conscious as never before with 
thousands of them studying in Red Cross 
First Aid classes. Anyway, the movies 
better pay attention to the simple "must" 
and "must not" rules of First Aid. 

Barbara Stanwyck in "You Belong To 
Me" disobeyed all the first rules — and she 
was supposed to be a doctor with three 
years' experience! When Henry Fonda 
landed upside down in a snowbank. Dr. 
Barbara yanked him violently enough to 
cause considerable damage to possible 
fractures — Rule 1: Do not cause fvn-ther 
injury to the victim. She jackknifed him 
off the ground — Rule 2: Keep patient ly- 
ing down. She propped his head and 
shoulders up against her on the sled — 
very pleasant, no doubt, but what about 
Rule 3: Move only in lying position. 

And her hair-do. Shades of sanitation! 
It was neither appropriate for a doctor's 
office nor becoming to an otherwise at- 
tractive woman. 

Your feminine public is awake, Mr. 
Movie-Maker, so watch your (First Aid) 
steps. 

Lillian Morse, 
Kansas City, Mo. 

HONORABLE MENTION 

\A/HEN the name of Jack Benny is 
mentioned, most people think of his 
famous radio program. Few think of him 
as a great screen star, which he really 
is. His performances in his two most 
recent pictures, "Charley's Aunt" and "To 
Be Or Not To Be" were really something 



to rival the works of such celebrated 
actors as Spencer Tracy, Clark Gable, 
and others. 

Frank Duffev, 
Milwaukee, Wis. 

I PREDICT— yes, I realize that this 
' world is full of people making predic- 
tions — but I still take it upon myself to 
predict that before long the top man in 
movies is going to be — Humphrey Bogart. 

I fervently hope that the Hollywood 
powers don't try to rush him into a lot 
of inferior films, and that they do not, 
for fear of typing him as a tough guy, 
start casting him as a social secretary or 
a ballet dancer. I like Bogart and I like 
him bad! 

Edith Zittler, 
Chicago, 111. 

I 'VE had a very enjoyable experience — 
' the experience of seeing a new and re- 
freshing "star." That word might be 
rushing it a bit, but I think his brilliant 
acting will shine forth and make him a 
star in Hollywood's heaven. 

I'm speaking of Paul Hernried; the 
movie I saw was "Joan Of Paris" — a most 
unusual yet enjoyable picture. 

So let's be hospitable to our foreign 
actor and treat him to another fine part, 
and thereafter I'll leave Charles Boyer 
for the rest of you. 

Marjorie Beard, 
Salt Lake City, Utah 

IN "Kings Row" Ann Sheridan was as 
' real as the girl next door. Why not 
keep her in this type of role instead of 
giving her glamour parts? 

Ruth Sholtz, 
Norwood, O. 




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85 



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(Continued jrom page 65) complete con- 
cern for his welfare will always remain 
in Ann's heart. 

There followed days and months of de- 
spair. Finally, Ann decided to spend a few 
days with Hedy Lamarr. Originally they 
met at a party given by Fred and Lily 
MacMurray. It was a sincere friendship 
right from the start. Hedy knew what 
Ann was going through. She had recently 
gone through the same thing herself. 

Hedy was good for Ann. She was 
warm, understanding and considerate. At 
the time, Hedy was working in a picture. 
Ann spent her days playing with 
Jamsie, Hedy's small adopted son, tak- 
ing long walks. One day she was 
just returning to the house. As she 
turned up the driveway, someone across 
the street called her name. Ann turned. 
Robert Sterling came running toward 
her. It was the first time they had met 
face to face since Bob had played opposite 
her in "Ringside Maisie." They shook 
hands. There was nothing eventful in 
the meeting. Hedy came along just then. 
She hadn't known that she and Bob were 
neighbors. They all went for a swim in 
Hedy's pool. Bob stayed on for supper. 

Next day Ann moved back to her own 
home again. That evening, after dinner, 
she was sitting alone in front of her 
fireplace. Robert, the butler, came in 
and said that Bob Sterling was at the 
front door. The luxury of someone to 
talk to suddenly seemed so important. 
Arm fixed Bob a drink and they started 
to talk. Bob was amusing, optimistic, 
filled with the rosy glow of life and liv- 
ing. He poked fun at himself. He spoke 
seriously of himself. Ann remained a 
thoroughly appreciative and understand- 
ing audience. 

THE next day Bob sent flowers. Could 
' he have a date? Ann explained that 
crowds suddenly seemed to panic her. 
Would he dine at her house? After 
dinner they went for a drive. Bob sug- 
gested an out of the way eating spot 
near Pasadena. Just the place for a 
midnight sandwich. No, there wouldn't 
be more than a half a dozen people in the 
place. 

Once they got inside, it was too late 
to turn back. The place was literally 
crawling with jitterbugs. Bob knew this 
and had purposely deceived Ann to help 
bring her out of herself. Before long 
they were out jitterbugging with the 
mob. Ann laughed until she cried. All 
evening long something nice had been 
creeping into Bob's eyes. He was re- 
spectful, thoughtful, courteous. So dif- 
ferent from those tired Hollywood bach- 
elors, Ann thought to herself. 

This was the beginning. Bob begged 
to see Ann as often as possible. Being 
one of Hollywood's most eligible men, 
he was constantly in demand. To all 
invitations he said thank you very much. 
And took Ann to the movies. Neither 
liked night clubs, so they attended only 
on rare occasions. They'd double date 
with the Ray Millands. Recently with 
George Montgomery and Hedy Lamarr. 
Ann plays tennis. Bob likes golf. Each 
took up the other's game. 

If Bob has serious intentions, certainly 
no one knows them but himself. Judging 
by the way he constantly looks at Ann, 
the devoted attentions he pays her, he is 
a man in love. To intimate friends he 
has admitted that Ann is the most fem- 
inine girl he has ever known. "She 
always looks so scrubbed and cleaned," 
he once expressed it. 

Another quality that appeals to Bob is 



Ann's complete lack of brittleness. He 
loathes hard-boiled women, the super- 
ficial ones and the insincere. 

Bob likes to kid Ann because she can 
take it. And give it right back to him. 
Once someone asked him if he thought 
Ann was pretty. He winced and called 
her a "Funny Face." The story got back 
to Ann and she loved it. Bob has never 
ceased telling her how beautiful she is, 
ever since. 

Ann has never given any indication to 
Bob, or anyone else, that their friendship 
will end at the altar. In the first place 
she isn't legally free. Just recently she 
got her first divorce papers. Many strange 
and unpredictable things can happen be- 
tween now and the year she must wait 
for her final decree. Marriage is a serious 
proposition to Ann. It involves mutual 
sharing and above everything else — com- 
panionship. During her years of mar- 
riage to Roger Pryor, a great deal of her 
time was spient alone. Often when she 
needed Roger, he was out on tour with 
his band. Naturally, this wasn't to his 
liking, either, but he had to make a 
living. 

Absence does strange things to p)eople 
who were once in love. They learn not 
to depend on each other. By the time 
they get back together again, they've 
lost the momentum of marriage. "They 
have little or nothing in common. Nice 
people like Ann and Roger struggle 
valiantly to save it. Usually the results 
are hopeless. 

THOUGH there may never be a mar- 
' riage, Ann will always appreciate Bob's 
friendship. The loyalty that is such a 
strong part of her nature recognizes the 
great part he played in restoring her faith 
and confidence. She found his humor 
contagious; his curiosity about life and 
people refreshing; his enthusiastic par- 
ticipation in State Guard drills and First 
Aid activities inspiring. She respected 
his intelligent acting ability — she'd ad- 
mired his work before in "The Penalty," 
"Two-Faced Woman" and "Johnny 
Eager." 

That Ann and Bob would make their 
marriage a success, there is little doubt. 
They share the same mutual friendships. 
Both love good music. Both are fond of 
children, home life, spwrts. 

At the inception of their friendship, 
Ann and Bob had an imderstanding. 
Each was to go out when and with whom 
he pleased. So don't be surprised if, on 
occasion, you see either being the other 
half of a new twosome. 

In the meantime the ensuing year will 
tell the tale. Ann's career is as bright 
and shiny as a new dollar. Mr. Mayer 
himself predicts that Ann, together with 
Judy Garland and Mickey Rooney, is 
a white hope on the M-G-M lot. 

Bob is on the way up. With every 
picture his work improves. Everyone has 
a good word to say for htm. Even Clark 
Gable, trying to bear up under his recent 
sorrow, went out of his way to help Bob, 
when they worked together in "Some- 
where I'll Find You." 

But there's still a war to be fought. 
No young man today, not even one 
with mother, father and two sisters de- 
pendent on him, as are Bob's, can know 
what moment he may be called. It would 
be sheer folly for Ann and Bob even to 
think of planning ahead for a year. 

Will Ann Sothern eventually marry 
Bob Sterling? Personally, we think the 
evidence is against them. 

Our case rests. 

The End. 



86 



PHOTOPLAY combined it'ifh Movir mirror 



Round-Up of Pace Setters 

(Continued jrom page 47) apuroached 
and said, "My name's Taylor. Bob Tay- 
lor. There's a good part in my next 
picture you should play." Van thanked 
him, read the script of "Johnny Eager" 
and set right out to cinch the part, going 
from one producer to another as he was 
directed. For days Van made the rounds, 
haunting offices, giving forth with argu- 
ments, talking his head off, only to dis- 
cover it was all a rib — he'd been set for 
the part from the first. 

The storms of Hollywood affect Van 
little — except to feed fuel to his capacity 
for worry. He's a natural-born worrier 
and thrives on it. He's a honey, too, and 
a bachelor, though the latest rumor hints 
of a surprise marriage to Frances Neal. 

He's a guy's guy and one everyone 
likes. What's more, he's a star in the 
making. So write down the name "Van 
Heffin" and watch it grow on every thea- 
ter marquee in the land. 

U OW Smart Is Anne? 

' ' Arme Baxter always wanted to be an 
actress, except, of course, when, at the 
age of ten, her fickle fancy — which was 
very fickle, indeed — strayed off into tem- 
porary yearning ambitions for the ballet. 

So at thirteen she began her studies, 
enrolling in the Theodora Irvine school of 
drama in New York. At one of their 
plays Aime was seen by a director who 
chose her for a role with Frankie Thomas 
in the stage play "Dear Brutus." At 
thirteen she was on the way. 

A year's study with Mme. Maria Ou- 
spenskaya followed, with Anne also tak- 
ing in the fine old points of geography, 
algebra and geometry at the exclusive 
Brearley School. Then came summer 
stock with Karen Morley in "Susan And 
God" and, in the fall (this was 1938), a 
role with Eva Le Gallienne in "Madame 
Capet." 

Katherine Brown of the David Selznick 
organization, who had known Anne for 
some time, suggested the budding star 
take a test for movies. The test was so 
good Anne almost landed the Joan Fon- 
taine role in "Rebecca." Only her ex- 
treme youth prevented. 

But M-G-M saw the test and into 
"Twenty Mule Team" went little Anne, 
and then over to Fox, the studio that 
put her under contract. A role as one of 
the shy heroines in "Charley's Aunt" 
was followed by the lead opposite Dana 
Andrews in "Swamp Water," playing 
Walter Brennan's daughter. 

About this time Orson the Welles heard 
of the little eighteen-year-old wonder 
and grabbed her off for the romantic lead 
in his own production, "The Magnificent 
Ambersons." 

Born in Michigan City, Indiana, Anne 
and her parents moved to Rye, New York, 
when she was just seven. Anne claims 
she didn't inherit one iota of the talent of 
her famous architect uncle, Frank Lloyd 
Wright. She can't even draw a decent 
picture of a house. But she can scramble 
eggs a la heavenly. In fact, those ex- 
tremely small hands of Anne's are right 
perky in the culinary field. But, alas, 
Anne herself is a bit on the pleasingly 
rounded side and must needs watch her 
P's (for pastry) and Q's (for quarts of 
ice cream). 

She wears her brown hair in a sleek, 
smooth and rather high pompadour. (She 
wears a rat inside the pomp.) 

She lives with her mother in Westwood, 
while her father, who is sales manager 
of Frankfort Distilleries, holds down the 
fort in the East. 

No great romance clutters up little 
Anne's life nor dop«: she intend r.np shall 

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for many a day. "I play the field," she 
says and means it. But when The One 
does come along, he must have a sense 
of humor, dance well, talk intelligently, 
listen well, and possess a straightforward 
honesty. 

How's about it, lads? Covild Anne 
mean y-o-u, do you think? 

SHE Got What She Wanted: 
Battling the California school system 
singlehanded is a good deal — like a 
one-man revolution against a turned- 
over beehive. Even if you got anywhere, 
you'd be too stung to care. 

But Ann Ayars succeeded. The fact that 
she was a native daughter born in Bever- 
ly Hills may have been a factor in her 
favor, but, anyway, she took her stand 
freshman year. She wanted French and 
drama right away and four good years 
of it. 

She went after every available bit of 
drama she could get. In English she de- 
manded to read lives of dramatists and 
their plays. She struggled, argued and 
talked herself hoarse and she got what 
she wanted, for when Ann graduated 
from Beverly Hills High School she could 
speak French fluently and perform as 
well as any pupil in a school of drama. 

Her first three years of grade school 
were spent in Italy where her father, a 
voice coach, and her mother, a teacher 
of piano, had taken her for several years' 
stay. Her father, Quirino Pellicciotti, 
does not believe a voice should be 
trained until maturity, so after high 
school Ann and her father went to work 
on her voice. In less than three years 
Ann was giving concerts; in fact was 
spotted by Irving Kumin, associate cast- 
ing director of Warners, and was given 
a test. Her performance was superb, but 
her face, delicate and sensitively fash- 
ioned with diametrically opposed fea- 
tures, looked awful. Warners let her go, 
but Irving Kumin was so sure Ann was 
a find he telephoned Billy Grady of 
M-G-M who sent for Ann. They ex- 
perimented with make-up for her and at 
every opportunity Billy had her make 
production tests, which means reading 
Norma Shearer's or Joan Crawford's or 
Roz Russell's lines opposite the male star 
for testing purposes. The exj>erience was 
invaluable. When Hal Roach telephoned 
Grady one day for a girl who could both 
act and sing for a short called "Fiesta," 
Ann got the job. 

While she was testing opposite Lew 
Ayres for a Kildare picture, "Dr. Kil- 
dare's Victory," Director Van Dyke be- 
came so sold on her she stayed in the 
film as the society girl. 

Soft clouds of dark hair frame her 
olive, oval-shaped face. She's small, only 
five feet three inches, still sure of what 
she wants, which isn't to become a sing- 
ing star who acts, but an actress who 
sings. 

She's an only child, gets thin and 
irritable when not working and com- 
pletely happy and healthy when she is. 
Her two Siamese cats, Nanki Poo and 
Pitti-Sing, are her loves. Boy friends 
enter her life only on week ends, the rest 
of the time being given to work. 

She should succeed; Hollywood's fa- 
vorite birthday sign of Leo is hers. 

And, oh yes, she's changing the Japa- 
nese names of her cats to Bud and 
Buddy! 

TWO Feet In Heaven: 

' Reverend Andrews was on the move 
again, his little flock — consisting of wife, 
seven sons and one daughter — tagging 
along to a new church and a new con- 
gregation. At Uvalde, Texas, the band 
of pilgrims paused long enough for son 



Dana to attend grade school and high 
school in near-by Huntsville. Dana even 
managed a diploma from^ Sam Houston 
College and then decided he'd like to 
be a singer. 

If you saw Dana in "Swamp Water" 
and as the gangster bully in "Ball Of 
Fire" you know he didn't end up a 
singer. What he eventually became was 
an actor and a mighty fine one but, 
friends and Romans, the water that 
passed under the bridge 'ere that came 
to pass! 

After college Dana managed to save 
one thousand whole dollars in two years' 
hard work at odd jobs. He decided to 
take New York by storm. The storm 
turned out to be a mere drizzle, with 
Dana spending his entire roll in two 
weeks and landing back in Texas, broke. 

Two years later, leaving behind him a 
good job as chief accountant for Tobin's, 
Incorporated, in Austin, Dana struck out 
for Hollywood, the foot-and-thumb way. 
He was going to be a singer. He ended 
up a gas-station attendant in Van Nuys, 
a suburban town out in the VaUey. 

And then came Fate. Mr. Fate in the 
genial form of Rlr. Stanley Toomey, a 
citizen of Van Nuys, offered to aid Dana 
in his singing aspirations if Dana would 
forget his operatic ambitions and get 
down to modern warbling. Dana hesi- 
tated and then gave in. Mr. Toomey 
staked Dana to fifty dollars a week and a 
car — with free gas and oil — while Dana 
practiced his head off. 

It wasn't good enough. An agent 
promptly advised Mr. Toomey and Dana 
that singing without acting ability was 
the bunk. All right, then, Mr. Toomey 
said, Dana should act. So over to the 
Pasadena Community Theater trekked 
our brown-haired (wavy), hazel-eyed, 
six-foot hero to study dramatics while 
Mr. Toomey paid. Instead of Dana's 
begging his benefactor not to grow im- 
patient, it was the other way around. 

"Stick to it," Mr. Toomey urged for 
three long years. When small bits were 
offered his protege in movies, Mr. 
Toomey was the first to say "nay." "Hold 
out for a good contract," he advised and 
finally it came — in double doses — for no 
sooner had Samuel Goldwyn signed Dana 
than Twentieth Century-Fox bought half 
his contract. The latter studio thrust 
him into "Belle Starr" as Ma]or Craxl, 
then "The Cisco Kid," next made him 
the young land agent in "Tobacco Road" 
and currently is counting on him to shine 
in "Thunder Birds." 

While attending the Pasadena Com- 
munity Theater Dana met and fell in 
love with Mary Todd of Santa Monica. 
They were mai-ried quietly among a few 
puzzled, bewildered friends who couldn't 
understand why Mary would marry a 
man with a beard. The beard was an 
order from the studio for "Swamp Water." 

"A honeymoon with a beard isn't so 
hot," Dana says thoughtfully. 

Of course, it wouldn't be Holl>n,vood 
if they didn't order the beard shaved off 
after the honeymoon was over and even 
before the picture started. That's what 
makes actors so fruit-cakey, if you know 
what we mean. 

Dana Andi'ews is quiet and home- 
loving, still living in Van Nuys, far from 
Hollywood's hurly-burly. He wants to 
grow slowly on the screen. His bride 
and Dana's seven-year-old son by the 
wife that died several years ago get 
along beautifully. 

He can pay back his benefactor now 
with interest and we, the Dana Andrews 
fans, can pay him back by shouting our 
appreciation for the product of a man's 
faith and judgment. 

The End. 

PHOTOPLAY combiiicd icith movie mirror 



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Danger — Popularity Ahead! 

(Continued jrom page 49) I knew, I'd 
won a scholarship or two. Gracious! I 
really felt set apart! So what did I do but 
provide myself with some scenery! I got 
some Russian blouses, gaudily embel- 
lished with 'peasant embroidery' in the 
brightest colors. 

They looked pretty funny among the 
middy blouses the other girls wore. But 
I thought my status required something 
special. 

"I'm not quite clear in my mind, even 
yet, about what I thought people were 
thinking of me. But I'm sure that I 
imagined that they thought I was very 
interesting and superior. I thought I'd 
be sought-after and popular because . . . 
well, because I was 'different.' I remem- 
ber that I thought long jade earrings 
would help, too! 

"Anyhow, to make it short, I was 
wounded to the quick one day when a 
group picture of girls in my class turned 
up in the local paper. (I lived in Minne- 
apolis.) There were my classmates, all 
looking gay and wholesome in their mid- 
dy blouses. And I hadn't even been 
notified, let alone photographed. One of 
the girls, sensing my hurt, maybe, told 
me rather timidly, 'We didn't like to ask 
you to come, too. You're so — so different 
these days." Then, in a burst of honesty, 
she said, 'We thought you'd make us feel 
silly, too!' 

"Well, that's what / got for trying to 
be aloof and 'different.' I found that I 
didn't want to be left out of things, that 
I wanted to be part of the group. If I 
stood out from a group I wanted it to be 
because I had done something to deserve 
it and not because I'd got a funny blouse 
or had taken on a silly pose." 

MAUREEN O'HARA had to cope with 
a false prominence and popularity 
which were not of her own making. 
Maureen steps very carefully, even now, 
after she has come into Hollywood's 
front ranks by her work in "How Green 
Was My Valley" and "To The Shores Of 
Tripoli." But Maureen learned some- 
thing when she first arrived in America. 
She had distinguished herself in British 
pictures and she came to Hollywood as 
the protegee of Mr. and Mrs. Charles 
Laughton . . . whose opinions are im- 
portant. This is what she says about it: 
"I was bewildered and excited to be 
invited to so many parties! People I 
hadn't met sent me flowers and invited 
me to dinner. I didn't understand all this, 
but I was terribly excited by it. I began 
to think I was a real celebrity and I 
began to act like one! 

"Then one day a very tiny thing hap- 
pened. So tiny that I shan't even bother 
to tell all about it. But it made me 
think and it made me see something. 

"I realized suddenly that I was having 
all this attention really because I was a 
novelty. People were making a fuss over 
me because of something 7 hadn't yet 
done, something they just thought I might 
do. How awful, I thought, if my first pic- 
ture here — or my second or my third or 
my fourth — should disappoint them! I'd 
be dropped. They'd stop noticing me. 
My vanity would suffer. My feelings 
would be hurt. 

"I decided that I'd better discipline my 
own vanity before other people started 
doing it for me. I'd better earn all this 
attention before I started to depend on 
it. You see, I wanted it all to be real." 

Well, Maureen is as determined as she 
is clearheaded. What she did about all 
this is still a phenomenon which surprises 
Hollywood. She stopped accepting whole- 
sale invitations. She even stopf>ed go- 



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JULY, 1942 



89 



ing (except at rare intervals) to the 
gay, gay night clubs. "People wondered 
for a little time," she says. "But they 
forgot very soon. I was determined that 
the next time I was noticed, I should stay 
noticed!" 

Not that she became a recluse. She 
clung eagerly to the few people whom 
she could call friends, people to whom 
she thought it might not matter very 
much whether her pictures flopped or 
clicked. 

"I may be disappointed in myself if I 
turn in a bad performance," she says. 
"But I shan't be hurt and puzzled at the 
reaction of a lot of strangers whose in- 
terest in me was mostly curiosity and 
very halfhearted curiosity, at that! 

"False fame — false popularity — those 
things are dangerous and can hurt you 
so deeply!" 

BUT Ruth Hussey — she who's making 
fast film time in M-G-M's "Pierre Of 
The Plains" — had a word to put in just 
here. "It depends on what kind of popu- 
larity it is!" she insisted. "And you've 
got to distinguish between popularity — 
which just means that people like you— 
and prominence, which probably means 
that you do something better than the 
other ones do. Or maybe you only seem 
to. Take the 'teacher's pet' type. You 
get 'em in offices and in school and on 
the set at the studio. You get 'em among 
the car hops at the drive-ins and on the 
junior committees in women's clubs. The 
girl who does her job better than the rest 
of us . . . the one who gets the praise 
from the teacher or the boss or the direc- 
tor or the chairman. 

"The others aren't going to like her 
much. If she's in competition with men, 
they'll hate her. Well, if she has a grain 
of sense she'll make a tremendous effort 
to make the others like her — if only for 
purposes of self-preservation! Help the 
dumb ones with their lessons or their 
tasks. Confide in the shy ones. Make 
friends with the cocky ones. 

If her own innate generosity isn't suffi- 
cient to make her do these things, then 
her plain common sense should make 



(Continued from page 44) the ground 
thaws, I'm going to start building me a 
house. And I want one like they have 
in Hollywood. I want to know if you'll 
send me some Hollywood ideas for it." 

Julia didn't know whether she was 
more surprised by the fact that he hadn't 
said what she expected, or by the thing 
he said. 

"I bought a lot last week," he went on. 
"Bronson's Corner. Paid for in cash. 
Deed's in the bank." 

"You don't mean that you bought the 
corner with the big elm tree on it," Julia 
exclaimed. "Not the tree Johnny and I 
call our tree?" 

"That's it," Tod answered. 

Julia made no further comment for 
some minutes, then she said: "Johnny 
and I have thought of that tree as ours 
ever since we've been kids. We still go 
back there when we have personal things 
to talk about. We've always said we would 
buy it someday. Now that I'll be making 
money by the bucketful, will you forget 
about building a house and sell the place 
back to me?" 

Tod's eyes held hers for a very long 
moment. "I'll think it over, Beautiful," 
was all he said. "Suppose I give you an 
answer at the party tonight?" 

But as things turned out, Julia wasn't 
given her answer at the Vagabond party, 
For at home was a wire from the studio 



her see that it's good business, anyhow." 

Ruth paused and then went on, "You 
know the old saying — everybody who's 
ever been to school knows it, I guess- 
that it's awfully bad luck to be president 
of your freshman class! Well, it isn't 
true. It hasn't anything to do with luck 
but it has a lot to do with exactly what 
we're talking about. It's the kind of 
popularity that counts. 

"The president of the freshman class 
is nearly always good-looking. He has a 
nice, easy way of making friends quick- 
ly. He likes everybody. He smiles and 
smiles until you'd think his face would 
crack. He remembers everybody's name. 
And you'll discover that that's about all 
there is to it. He's not very good in class 
or in athletics. After he learns your 
name, he never learns anything else 
about you. It was easy, shallow popu- 
larity and he hasn't anything to follow 
through. He usually drops out of school 
completely or just drops back to the rear 
ranks before your senior year. 

"And that drab little chap, the shy one 
whom you scarcely noticed your first 
week at school — well, he's tops when you 
come to graduate. Probably the head of 
everything. You're proud of him and you 
don't begrudge him one inch of it. 

"You see, popularity is something you 
earn. You don't just inherit it like a nice 
complexion or red hair or something. 
Maybe it comes easily to you at first — 
as singing or cooking comes to someone 
else. But you've got to work at it to keep 
it. You've got to deserve it!" 

ROSEMARY LANE says she started 
learning some pointers on popularity 
when she was a sophomore in high school, 
way back in Iowa. A new girl moved to 
town that year and entered high school. 
She was pretty and she had lots of smart 
clothes and a devastating Southern ac- 
cent. First thing anyone knew, she had 
the whole school by the ears, boys and 
girls alike. She was terrific. 

"The funny thing was," Rosemary re- 
calls, "I think she was just as surprised 
as anyone else at first. She probably 
hadn't been such great shakes in the town 



Highroad to Hollywood 

requesting Bettina and Julia to leave for 
Hollywood on the five o'clock train! 

Suddenly the world was in a tailspin! 
At five o'clock. Miss America stood upon 
the train platform waving good-by to the 
accompaniment of the town band. 

Tod relinquished her bags only at the 
very last moment. "So long. Beautiful," 
he said. "It's going to be mighty lone- 
some until you get back." 

"I'll miss you, too," she told him. And 
she knew she meant it as, with the train 
beginning to move, people blurring to- 
gether. Dad, Mother, Johnny, it was Tod 
whom she saw last of all; that little salute 
above his half-serious smile . . . the wind 
ruffling his sandy hair. 

FROM a seat in the Pullman, Miss 
Scott Hendricks, of Troy watched the 
excitement in the Gladstone station. 

Of course, she had seen Miss Amer- 
ica's picture in yesterday's papers; a 
brunette, the story had said, five feet and 
five inches tall and twenty-one years old. 
Oddly enough Scott was also five feet, 
five, twenty-one years old, and also going 
to Hollywood, one hundred dollars folded 
away in her diary, representing the 
chance she would have to break into pic- 
tures. 

Her father a young and struggling 
artist in Paris and her mother having 
died when Scott was but five, the little 



where she had lived before — people had 
been used to her. But she was a novelty 
in our town. It wasn't very astonishing, 
then, that she began to take herself 
pretty big. 

"The next thing we knew she was sort- 
ing us out into layers of people she 
wanted to know and those she didn't, ac- 
cording to some funny little rules she 
made up out of her own head. Right 
after that, of course, some people began 
to resent her and others began to think 
she was odd. 

"She began to be left out of things. I'm 
sure she knew people were laughing at 
her and I'm sure she was awfully 
puzzled. I can be sorry for her now, but 
I'm afraid I wasn't then. Nobody is any 
crueler than a bunch of high-school 
p>eople when they start disciplining some- 
one their own age. You see, that girl 
hadn't figured out what was happening. 
She'd taken it all seriously and that 
simply won't do. 

"It's exactly like that in pictures — only 
it's the public, instead of your classmates, 
who builds you up and tears you down. 

"Then there was another girl who 
always got the highest marks in the class 
— but she was nice to everybody. I could 
sing so I used to get the lead parts in 
school plays and, besides, my sister Lola 
was already a Hollywood star. I finally 
said to myself, "Look here, R. Mullican! 
If a girl can sing better than someone else 
or attract more boys or get a better mark 
in algebra or even just have a famous 
sister, she'd better make a point of being 
nice to everybody! She can't afEord not 
to!" 

These girls who know, who have 
learned it the hard way, who have been 
bruised and pushed aroimd and have 
seen other girls gasping under unex- 
pected blows from unexpected quarters, 
agree that there is sense in the slogan: 
Danger! Popularity Ahead! 

Walk slowly. Walk softly. Walk care- 
fully. If you use your head you can make 
capital of all this. If you're silly, you may 
be woefully hurt. 

Danger .... 

The End 



girl had been sent to school in Switzer- 
land, where she had learned to handle 
toboggans and skis like a veteran. Re- 
turning to America in her twelfth year, 
she had begun dreaming of Hollywood. 
Now she had brought along a trunk con- 
taining everything she possessed, her skis 
strapped alongside. 

She looked up and smiled as -Bettina 
and Julia took the Pullman space across 
the aisle, and before long the three were 
chatting like old friends. Soon Scott 
was begging Bettina to tell her what 
Hollywood was like. Were studios and 
stars all up and down Main Street? Did 
you see pictures being made whereve: 
you went? 

"Making pictures," she smiled, "is > 
little a part of Hollywood that you almo> 
never see a picture star or a scene beir.- 
taken. As for the studios, have you any 
idea what one looks like?" 

"I've always imagined sound stages 
like enormous barns,"' ventured Julia. 

"Which is a very fair description," 
agreed Bettina. "A studio's front entrance 
is usually its main office building. Going 
through into the lot, you find a pattern 
of streets, sidewalks and buildings quite 
like a little town. 

"Columbia is only two blocks from 
Hollywood Boulevard. Three blocks 
farther south, you'll find Paramount and 
RKO. But Twentieth Century-Fox is 



90 



PHOTOPLAY combined with movie mirror 



ton miles away in Beverly Hills, M-G-M 
is in Culver City, six miles southwest. 
Ami in exactly the opposite direction, 
Icur miles takes you to Warners, six to 
Universal, and eight to Republic." 

"Do you know where, in Hollywood, 
I'm to live?" asked Julia. 

"While you're playing Miss America," 
Bettina told her, "you'll have an apart- 
ment as the studio's guest. A car will 
call for you every morning and take you 
home at night." 

"Of course, it sounds like nothing but 
a fantastic dream," declared Julia. "I'm 
perfectly sure I'll wake up any minute! 
But what I am wondering is this: May 
I ask Scott to share my address until she 
finds one of her own?" 

"You certainly may," Bettina assured 
her. 

"Would you like it, Scott?" Julia asked 
impulsively. 

Scott's eyes running over with thrilled 
surprise were answer enough, and thus 
the plan remained, when, at midnight, 
these two, fated to unravel the mysteries 
of Hollywood together, bade each other 
good-by in Chicago's Union Station. 

MISS JULIA BURNS of Gladstone, 
Ohio, thought herself more than ever 
in a dream on the following Tuesday 
morning when a studio limousine con- 
veyed her luxuriously along Hollywood's 
Cahuenga Pass to the Warner Brothers 
lot where she was to report, officially, 
as their Miss America. 

The sky was California's bluest blue. 
Flowers were everywhere, white boule- 
vards winding into the hills, leading to 
houses whose roofs of turquoise, Chinese 
red, and jade were like bright bowknots 
against the dark canyons. 

Miss America's first sight of the studio 
in its setting of green valley, was a far 



more impressive one than she had 
imagined; gray domes of sound stages 
against the distant lavender peaks of 
the Sierra Madres, above stucco walls, 
white pennants bearing the bright blue 
letters "W. B." rippling in the breeze. 

The car traveled past the rear gate, 
on past a flower-lined crescent drive, and 
past a block-long office building in 
Spanish design (which the driver pointed 
out as the studio's main entrance). Half 
a block beyond, they stopped at a much 
less imposing doorway labeled Press De- 
partment. Julia had been told to report 
here to Director of Publicity Alex 
Holland, the genial young man who had 
met her at the train with reporters and 
photographers. 

She found him in an office with 
knotty-pine walls, sage green carpet, and 
rattan chairs upholstered in white. And 
here she heard the day's first piece of 
news. Her name was to be changed from 
Julia Burns to Julie Burnette. 

"There are already a couple of good 
actors named Burns," Mr. Holland ex- 
plained, "and we've shortened the name 
of Julia by one syllable ... I hope you 
like the new one." 

"I do," she agreed instantly. "I like it 
very much." 

A moment later Mr. Holland looked up 
to greet good-looking Jay Chapman who 
would introduced Julie to Casting Di- 
rector Steve Trilling, to Dramatic Coach 
Sophie Rosenstein, Orry-Kelly and Perc 
Westmore in Make-Up. 

But their first call was at the office of 
Fashion Editor Bettina. They found that 
young lady too busy for more than a 
brief "Good morning." She did, how- 
ever, take time to impart the news that, 
at the request of the front office, Julie 
was to attend a premiere at the Chinese 
Theater tonight. 



"I've telephoned the maid at Castle 
Argyle to have your evening gown 
pressed," Bettina added, "and we've sent 
a white fox cape from Wardrobe. I 
might also remark," she smiled, "that 
any girl on the lot would give a month's 
salary to be out with the gentleman who's 
taking you. He's calling for you in time 
to have dinner at Giro's. I'll expect to 
hear all about it tomorrow." 

The white evening gown! White fox 
fur! A premiere! Dinner at Giro's! . . . 
And with whom, Julie wondered, as she 
accompanied Jay Chapman along what 
seemed at least a mile of hallways. But 
with his announcement that they were 
about to meet Casting Director Steve 
Trilling, Julie's thrilled contemplation of 
the evening turned to fright! Much to her 
surprise, however, the dreaded gentle- 
man proved to be not only wholly un- 
ostentatious, but decidedly pleasant, as 
he informed her that the first step for 
every girl on the lot was an interview 
test and that for her this would take 
place tomorrow morning on Stage 19. 

"Nothing alarming," he hastened to 
assure her. "You will only be asked half 
a dozen simple questions; such as how 
tall you are and how much you weigh." 

He made it sound very simple, Julie 
quite overlooking the fact that this 
camera record, however brief, would 
serve as the studio's first sample of her 
voice, poise, and photogenic possibilties. 

"Mr. Trilling," Julie said impulsively, 
"after the Miss America role I want very 
much to go on with pictures. Do you 
think I can?" 

"I'll be able to discuss that more in- 
telligently in a week or two," he an- 
swered with a friendly smile. "Our doors 
are wide open at all times to anyone who 
really has something to offer, for pictures 
cannot exist without new screen p>er- 



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sonalities. But don't build hope upon the 
fact that you •were selected to play the 
role of Miss America. Had we required 
an actress for that part, we would never 
have dared cast it by long-distance and 
we have long since found out," he added, 
"that while talent without beauty can 
go all the way, beauty without talent 
hasn't a chance." 

But all in all, meeting a casting director 
hadn't been half as bad as she had 
expected, said Julie to herself, as Jay 
Chapman led the way out of the main 
building and into the lot proper. And so 
she made up her mind to forget all about 
tomorrow and let the rest of this day be 
completely thrilUng. 

GOING through the turnstile entrance 
to the thirty-eight miles of paved 
streets, walks, gardens, and stucco 
buildings which comprised the lot, Julie 
could not even begin to imagine what 
she was to see! She and Jay Chapman 
wandered about looking in at every de- 
partment they passed; the busy Crafts 
Shop, the 'Transportation Department 
with its eighty-five sedans for studio use, 
passenger busses for carrying extras to 
and from location, special cars such as a 
stock from Paris and London as well as 
cars of twenty and thirty years ago and 
cheap buys to use for smash-ups. They 
stopped in at the amazing building which 
houses twenty-one thousand props; 
everything from a prehistoric cooking 
pot to yesterday's circus bill . . . then 
noon found them in the studio restaurant 
called The Green Room. 

But here Julie left even eggs Bene- 
dictine, and Nesselrode pudding un- 
touched, what with Bette Davis, James 
Cagney, Errol Flynn, Barbara Stanwyck 
and Charles Boyer all within range of 
one upward glance! Her mind was not 
sidetracked, however, from a growing 
curiosity about the gentleman with whom 
she was to spend this evening. She had 
anticipated that an introduction to him 
would come along with luncheon . . . but 
it didn't, and at two o'clock she and the 
amiable Mr. Chapman resumed their tour 
of the lot. 

"I won't take you around to the pro- 
jection rooms," he decided, "for you'll 
visit one of those, when you see your 
test. I'm sure the Experimental Science 
and Sound Recording Labs, and the 
draftsmen making blueprints of sets 
would bore you, and we'll skip the 
writers' and readers' building where 
you'd only see a lot of people sitting in 
big chairs in little offices. We'll skip the 
wardrobe and make-up departments, for 
you'll see both of those tomorrow. We'll 
skip the Studio Theater and the dramatic 
coach, because from tomorrow on that's 
where you'll spend practically all your 
time. . . . 

"But it just occurs to me that we'd 
better be making tracks toward the 
portrait gallery. In fact I promised the 
top still man he could have a look at 
you early this morning. From what I can 
gather you're his idea of a dream 
walking." 

Julie's impression, as they entered the 
portrait gallery, was of stepping upon 
a theater stage. Baby spotlights bordered 
the ceiling. One side of the room was a 
painted vista of summer clouds and a 
spray of synthetic apple blossoms, a 
second wall was padded in chartreuse 
satin, a third represented a stately old 
parlor with a spinet and crystal candle- 
sticks. But bringing it all down to earth, 
a photographer's camera and tripod oc- 
cupied center front, and at a business- 
like desk, sat a young man whom Julie 
summed up as possessing that Varsity 
something or other, which you expect of 



all young men in stories, but seldom find 
in those you meet. 

Looking up to see who had opened his 
door, he scraped his chair away from the 
desk and came forward, saying to Julie, 
without waiting for introductions, "Hi, 
Miss America. I'm Curt Melbourne. Just 
call me Curt. It has certainly taken long 
enough for this guy Chapman to bring 
you around here. To be perfectly frank, 
I'm pretty much inclined to take him 
apart and hang his skin over the back 
fence ... I want to know when you'll 
pose for some stills for me. Missy? 
You've certainly got what it takes. I 
mean you're here to stay! One of these 
days they're going to be writing your 
name on the marquees." 

Julie scarcely knew how to respond, 
but this spontaneous young man didn't 
give her time to be embarrassed. Launch- 
ing into genuinely interested questions 
about her home town and the fun it must 
have been to ■win the "Top Topics" con- 
test, he made an hour and a half go be- 
fore she knew it, and Jay Chapman was 
telephoning Transportation for a car to 
take her home. 

TRAVELING back along the Pass, re- 
' turning to Castle Argyle, Julie prob- 
ably had more to think about than ever 
in her life before. 

She not only had the studio and all 
its glamorous details to picture in 
her mind, but Scott. Scott, somewhere 
on the highroad in a bus. And there 
were Mother and Dad and Johnny 
to wonder about . . . and Tod. In 
Gladstone it was already evening. Tod 
probably working late as usual, weigh- 
ing out nails or figuring the footage 
of two-by-fours . . . She thought of how 
he had said good-by: "So long. Beau- 
tiful. It's going to be mighty lonesome 
until you get back," these words of Tod 
drifting into what Curt Melbourne had 
said this afternoon: "You've got what it 
takes. I mean you're here to stay!" 

Could all this be real for Julie Bur- 
nette! Tomorrow she would face the 
cameras on a Hollywood sound stage, 
realizing a hope which had also been the 
hope of eighty thousand other girls, and 
only for her had come true . . . Julie 
Burnette rolling home in California's 
eternal summertime to Castle Argyle and 
an apartment of six luxurious rooms! 
Julie Burnette about to don an evening 
dress and white fox fur, for dinner and 
a premiere. But with whom? What 
gentleman was to materialize as the per- 
sonality of Bettina's intriguing descrip- 
tion! 

In her apartment she found a late 
afternoon breeze stirring the curtains at 
the French windows, filling her room 
with a faint fragrance of orange blossoms. 
On her bed was the white fox cape! 

Eager to experience the feeling of slid-l 
ing into it, she had just gathered it upj 
in her arms when the doorbell rang;! 
Chi-is, the elevator boy, with a transparent | 
box containing a corsage of pink ca-i 
mellias; the loveliest flowers Julie had] 
ever seen! Surely there would be a note! 
. . . yes, there was! Hastily she tore it 
open. 

"Half-past six o'clock," she read, in a 
gentleman's scrawl. Just "Half-past six 
o'clock" . . . nothing more. 



Who will Julie's escort be — this man. 
icith whom any girl on the lot, big stai 
or bit player, would give a month's salary 
to be out icith? Close your eyes, pur 
yourself in Julie's place — and find your- 
self, in the August issue o/ Photoplay- 
Movie Mirror, starting out on your first 
glamour evening in HoUyicood! 



92 



PHOTOPLAY combined u'ith movie mirrof 




MEET 
DR. 



OF "BACHELOR'S 
CHILDREN." 



Here he is in person. Dr. Bob 
Graham, the beloved character of 
"Bachelor's Children"! In "Living 
.Portraits" in the July Radio Mirror 
you will thrill to the grand collection 
of gorgeous pictures of the people 
who have made "Bachelor's Chil- 
dren" one of the best loved dramas on 
the air. You'll find them all pictured 
—Ruth and Janet, Michael Kent, 
Ellen Collins and Dr. Bob. 

'BRIGHT HORIZON" 



SPECIAL 



Tuners-in of "Bright Horizon" are in 
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heroine and other pictures of Michael 
West and little Bobby. "Amanda of 
Honeymoon Hill" comes in for a share 
of pictures with a lovely color por- 
trait of Amanda herself. These are 
3 truly works of photographic art. 

ASCINATING FICTION! 

The July Radio Mirror is bursting 
with thrilling fiction versions of great 
radio dramas. "Come Away, My Love", 
"In all My Dreams" and "More Than I 
Ever Knew" are just a few of the en- 
ticing features selected for your plea- 
sure. 

, BLONDIE'S ON 
*THE COVER! 

The Penny Singleton cover of July 
Radio Mirror is the brightest one 
we've had the pleasure of preparing 
for our readers in a long time. Under 
this charming cover are many features 
we lack the space to enumerate . . . 
There's the regular feature, a complete 
program guide that will keep you 
tuned to your favorite stations for a 
whole month . . . there's a brand new 
song hit complete with words and 
music of a liltingly sweet melody and 
a lot of new cooking recipes by Kate 
Smith. 

Recognize it by the lovely cover of 
Blondie, star of the popular CBS pro- 
I gram of the same name heard every 
j Monday night. 

GET YOUR COPY TODAY! 
JULY ISSUE— ON SALE 

RADIO MIRROR 

loLY, 1942 



Mrs. Miniver 

{Continued from page 55) seemed odd 
that they were her children. But she 
couldn't get used to the idea that this 
tall, dark-haired young man was her son. 
She wondered, idly, how Vin would look, 
whether he had changed at all. 

And then, Vin was there, having tea 
on the terrace, his handsome face warmed 
by the glow of the late afternoon sun. In 
the background, the children could be 
heard chattering in the nursery. Sud- 
denly, she heard what Vin was saying. 

" — and I think I've developed a social 
consciousness." 

"What's that?" Clem asked, smiling. 

"The recognition of my fellow man," 
Vin said. He went on earnestly and Mrs. 
Miniver realized that he was feeling this 
very deeply. Out of the corner of her 
eye, she saw Gladys, the housemaid, 
coming toward them. 

"I tell you. Father, when I think of the 
class system that exists in this country, 
I — " Vin broke off impatiently. "What 
is it, Gladys'.'" 

Gladys announced that Miss Beldon 
was calling. 

"Show her out here, please," Mrs. Mini- 
ver said. 

She was surprised. She knew Carol 
Beldon only by sight. She had watched 
her grow up, turn into the traditional 
Beldon woman with her soft brown 
hair and pointed chin and proud carriage. 

"Don't look so puzzled. Mother," Vin 
said. "She's probably bringing her 
illustrious grandmother's latest ultima- 
tum." 

Carol Beldon was standing in the door, 
smiling hesitantly. 

"Grandmother doesn't know I've come," 
she said biting her lip. "I'm afraid I'm 
not very good at breaking things gently, 
so I'll get right to the point. It's about 
Mr. Ballard's rose — the 'Mrs. Miniver.' 
I've just heard he's going to enter it in 
the Flower Show." She looked embar- 
rassed. "I know it's an awful thing to 
ask, but I thought you might — as a 
favor — Mrs. Miniver, persuade Mr. Bal- 
lard to withdraw it from the competition. 
It's such a beautiful rose — it might easily 
win — and — well — Grandmother's roses 
mean so much to her — •" 

Mrs. Miniver was about to speak, when 
Vin broke in. He was furious. Shocked 
by his behavior, Mrs. Miniver tried to 
get the situation under control. But Carol 
Beldon needed no help. She merely 
waited until Vin's breath had run out 
and then asked him, calmly, what he was 
doing about injustice and equality, be- 
sides talking about it. 

Clem chuckled. From that point, things 
went Carol's way, until Vin was forced 
to escape, trailing what dignity he had 
left. 

"I'm sorry. Miss Beldon," Mrs. Miniver 
began. 

"Oh, no, please," Carol smiled. "Really, 
you know, he's quite right. Besides," her 
smile widened, "he's rather nice, isn't 
he".'" 

MRS. MINIVER was deeply disturbed. 
No doubt, Vin thought himself very 
noble for championing Ballard's cause, 
but he had been so rude. As it hap- 
pened, she need not have worried at all. 
That evening, Vin and Carol met again 
at the Sailing Club Dance and danced to- 
gether almost all evening. 

The next day, the Beldons went to 
Scotland. It was a little amusing and 
yet a little painful, too, to see how lost 
Vin was then. 

It wasn't so happy a summer as Mrs. 
Miniver had hoped it would be. The 
threat of war hung like a cloud over the 




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brightest days. Yet Belham was so ordi- 
nary, so as it had been for centuries, it 
was impossible to conceive of anything's 
changing it. 

They were in church when the news 
came. Vin had just whispered dehght- 
edly, "She's back!" and nodded to Carol, 
helping her grandmother into their p)ew, 
when the verger hurried out of the chan- 
cel and whispered to the Vicar. 

The Vicar climbed into the pulpit and 
looked down into their faces. "It has 
just been announced over the air by the 
Prime Minister," he said seriously, "that 
our country is at war." 

Mrs. Miniver felt Clem's hand on hers 
and looked up into his troubled face. 
There was no service that Sunday. The 
people crowded out of the church, buz- 
zing with the news. 

\A/HEN the Minivers reached home, 
' ' Starlings was in a turmoil, Gladys 
was hysterical, because her young man 
was leaving for his regiment at once. 
Somehow, they managed to calm her. By 
the time her Horace came to say good- 
by, she was smiling and they all drank 
a farewell sherry together, 

Horace offered a toast. "May we all 
meet in the front lines!" he said, 

"Not me, Horace," Vin laughed. "The 
R.A.F, for me." 

Mrs. Miniver went cold inside. She 
was hardly aware of shaking hands with 
Horace, when he and Gladys left. 

"Mother— Dad— " Vin said then, "I'd 
like to run up and see Carol." 

"Of course, dear," Mrs. Miniver said. 
Vin kissed her quickly and ran out. "Isn't 
he very young — " she murmured, "even 
for the Air Force?" 

"Yes," Clem said gently, "he's young — " 
He put his arm about her. "Kay, dar- 
ling," he said tenderly, "I know it's tough 
— having to go through all this again." 

Tears welled in her eyes and she 
turned on him angrily, "Oh, you men! 
What a mess you've made of the world! 
Meddling and muddling. Why can't we 
leave other people alone?" 

"Lie down and let them walk over us?" 
Clem asked, 

"No," Mrs. Miniver said helplessly. "I 
didn't mean that. I — I'm all mixed up, 
thinking of Vin." 

"Darling," Clem said, "there's only one 
thing we can do — not just you and I, but 
all the decent men and women in the 
world. We can make sure this thing 
doesn't come twice in one generation to 
our childi'en, as it has come to us." 

Suddenly, a shrill, high, penetratinsi 
siren shrieked in the air. For a moment, 
they stood still, not understanding, not 
believing. 

"Already!" Clem said. "Get the children 
into the cellar, Kay. Hurry!" 

In a short while, they were all quietly, 
apprehensively, settled. It wasn't long 
before the "all clear" sounded. Toby 
looked disappointed. 

"Is the war over, Mummie?" he asked 
with a frown. 

"No, darling," Mrs. Miniver said. "This 
is only the first day." 

I N THE next months, they were to grow 
' accustomed to this. Only later, there 
were bombs and the maddening scream 
of the dive bombers. Mrs. Miniver was 
to grow accustomed to many things, to 
Vin's being in the Air Force, to Clem's 
being in the River Patrol, to the terror 
that fell all about, when the German 
planes tried to hit the airfield nearby. 

All one day, Clem and others were out 
looking for a Nazi flyer who had been 
shot down the night before. It was eve- 
ning now, and foggy, the house was quiet, 
the children upstairs, getting ready for 



bed. Mrs. Miniver hoped the searchers 
would find the Nazi soon so Clem could 
come home for dinner. 

The telephone rang and Mrs. Miniver's 
heart stood still. She was always afraid 
of the telephone now. 

"Mother!" It was Vin. "Good news, 
darling. I've got my wings. And I'm 
stationed at Belham Airfield. I've a week's 
leave. See you soon — no use talking 
now." He hung up. 

Mrs. Miniver's first thought was that he 
would be going into active combat — 
danger — now. She put the thought reso- 
lutely out of her mind. She thought, in- 
stead, of some way to celebrate Vin's 
homecoming. 

She knew she had done the right thing 
as soon as Vin stepped into the hallway 
and saw Carol standing beside her. Clem, 
returning from the unsuccessful search 
for the flyer, threw her a look of ap- 
proval. 

Mrs. Miniver susp>ected Vin was in love 
with Carol, but she had not been sure 
how the girl felt. Now, she knew that, 
too. For, when Vin made as if to shake 
hands with her, Carol kissed him natu- 
rally, easily. 

"Make's a good-looking pUot, doesn't 
he?" Clem said. 

"Oh, Vin, already?" Carol whispered. 

Vin grinned proudly. "Not bad, eh' 
And what a bit of luck, being transferred 
to an airfield so near home. Fellow I 
knew at the last place had his people 
near by and whenever he flew over them 
he'd cut his motor, so they'd know wha 
he was. You know — like this — " and he 
imitated the sound of a plane's motor 
racing and missing. "I say," Vin looked 
around. "Where are the kids?" 

"In bed, I hope," Mrs. Miniver said. 

"You wouldn't weaken and let them 
stay up for dinner?" Vin wheedled. Mrs 
Miniver had to give in to him. 

Once the children were allowed to gel 
up, they were irrepressible. Toby, hi< 
eyes aglow with worship, stared at hii 
big brother and chattered incessantly. 

Finally Toby asked "Vin, are you goins 
to marry Carol?" 

There was a shocked silence, froir 
which Carol recovered first. 

"Toby," she smiled, "why don't you asl) 
me if I'm going to marry Vin?" 




94 



Mrs. Miniver knew she had done ti • 
right thing when she saw how Vin ar< 
Carol met each other at the doo 

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"Well, are you?" Toby asked. 
"If he asks me — " Carol said. 
Toby pursed his lips scornfully. "He's 
afraid." 

Vin jumped to his feet. "I'm not going 
to stand for that," he said. "Carol — ye 
gods! This is the dardnest proposal! 
Will you marry me, Carol?" 

"Yes," Carol said softly. 

There was a shout from Toby and 
everyone stood up and Mrs. Miniver 
wasn't quite sure she wasn't going to 
cry from happiness. Vaguely, she heard 
the telephone ringing, but she couldn't 
tear herself away. 

Gladys summoned Vin to the phone. 
When he came back, all the joy was gone 
from his face. All leaves were cancelled. 
He was ordered back at once. 

Mrs. Miniver's heart shriveled and she 
looked at Carol. The girl was very pale. 
Vin kissed them hurriedly and ran after 
Clem, who had gone to get the car to 
drive him to the field. 



MRS. MINIVER had no idea how long 
she had been asleep, when the 
phone's ringing awakened her. Only half- 
awake, she heard Clem answer it. The 
next moment, Clem was groping for his 
clothes. 

"What is it?" she cried. "Vin!" 

"No — the River Patrol," Clem said. 

"But you were out all day, looking for 
that flyer. I won't let you go!" she cried. 
Yet, the moment after she said it, she 
sighed, "I'll get you some sandwiches." 

Down at the boat landing, Mrs. Miniver 
clung to him for a long moment and she 
knew from the way he kissed her that 
this was serious. And, for the second time 
that night, she watched someone she 
loved vanish into the darkness. 

It wasn't very long before she knew 
what it was all about. First, there was 
the terrible, steady rumbling of guns, dis- 
tant, but endlessly booming. Then, the 
wireless announced that every available 
boat on the coast was commandeered to 
evacuate the British troops trapped on 
the beach at Dunkirk. That's where Clem 
was! She felt faint with fear, thinking 
of his small river boat beaten about in 
the Channel, a target for enemy planes 
and shells. And when she realized that 
Vin must be there, too, she almost gave 
way to panic. 

Somehow, she didn't give way. Her 
men had to fight and she, like all the 
other women, had to match their courage 
and daring. She hung on to this and it 
helped her through the days. But the 
nights were horrible. She slept only fit- 
fully and, even in her sleep, she seemed 
to be listening for those guns to stop 
booming. Four days passed in this way, 
four endlessly long days. 

On the fourth night, Mrs. Miniver 
found she couldn't sleep at all. Dawn 
was streaking the sky as she got dressed 
and went out into the cold chill of the 
waking day. The guns roared distantly. 
In her neat garden, it was breathlessly 
still and that faraway rumbling was like 
some agony deep in the earth. Mrs. 
Miniver walked about aimlessly. Sud- 
denly, she stopped. 

She stepped closer to the hedge. It 
was a boot. And now she could see the 
Nazi uniform and the bloodstained torn 
sleeve and the thin, young face blank in 
exhausted sleep. She must do something, 
call someone. Without care, she ran up 
the gravel path. 

"Stehen bleiben! Oder ich schiesse!" 

She didn't understand, but she stopped 
and turned. He was coming toward her, 
a gun in his left hand, his right arm 
limp at his side. His face was drawn 
with pain, but, somehow, hard and 
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96 




"Alone?" he asked. 

She nodded. He waved her inside with 
the gun and demanded food and drink. 
The gun pointed at her steadily, she got 
some ham and bread and a bottle of 
milk. He snatched these and stuffed them 
awkwardly into his tunic pocket. 

"Coat — !" he ordered. She knew he 
wanted a disguise. She was going to 
deny she had one, but he nodded toward 
the coat rack in the hall. She moved 
toward Clem's trench coat. The coat 
rack hid the hall phone from the kitchen. 
Her back to the flyer, she reached for 
the phone. 

"Nein!" he whispered fiercely. She 
looked around. He was watching, the 
gun steady on her. She knew he would 
not hesitate to shoot her. She took Clem's 
coat to him. 

She watched, fascinated, as he tried 
to put it on. Her mind searched fran- 
tically for some way to keep him there — 
get help. Suddenly, he gasped and she 
saw the spurt of fresh blood soaking his 
sleeve. The next moment, he tumbled to 
the floor. 

Quickly, she picked the gun out of 
his nerveless fingers and hid it. Then, 
she called the police and a doctor. She 
went back to the kitchen. He was con- 
scious again, desp>erately trying to get 
up, his eyes narrow with pain and fear. 

She felt sorry for him. He was so 
young — like Vin. "Really," she said 
kindly, "it's better. You'll be looked 
after — you'll be safe — the war won't last 
forever." 

"No," he said savagely, "soon we fin- 
ish! I am finish — but others come like 
me — thousands. You will see! We shall 
bomb your cities — we shall — " 

Mrs. Miniver raised her head. A plane 
was going by, its pilot cutting and racing 
the motor. "That's my son," she smiled. 
"He's signaling me that he's safely back. 
Do you signal your mother when you 
get back?" The young Nazi sneered con- 
temptuously and she thought of all the 
stories she'd heard about the distorted 
minds of German youth. "I thought not," 
she said softly. 

A CAR drew up outside and, a few 
minutes later, her prisoner was taken 
away. Only then did Mrs. Miniver real- 
ize she had been face to face with the 
enemy — and had not been found wanting. 
She leaned weakly against the table. 

"Mummie!" Toby cried from the door- 
way. "Mummie, what was that?" 

From the river came the sharp, explo- 
sive put-puts of the launch. "It's Daddy!" 
Mrs. Miniver cried. 

The sun was breaking through the 
morning mist, as she ran toward the 
boat landing, clutching Toby's small fist 
in her own. Clem was just getting out 
of the launch. He looked haggard and 
his clothes were dirty and torn. There 
were bullet holes in the side of the boat. 

Mrs. Miniver caught Clem close. "Dar- 
ling," she whispered tensely. "You're 
back — safe — " 

"You're awful dirty," Toby objected as 
his father kissed him. 

Clem laughed. "And tired, too — " 
Mrs. Miniver forgot herself. Support- 
ing him, she got him to the house and 
upstairs. Almost before she'd pulled off 
his shoes, he was asleep. He slept for 
ten hours without stirring. Then, he 
awoke, ravenously hungry, and demanded 
ham and eggs. 

"You can't have ham, dear," Mrs. Min- 
iver said. "I gave it to the Nazi flyer." 
Clem stared at her and went pale. "It's 
all right," she laughed and told him about 
it. Just as she finished Cook announced 
that Lady Beldon wished to see her. 
"Oh dear," Mrs. Miniver gasped. "I 



suppose Vin's asked her about marrying 
Carol." 

Clem laughed. "If I didn't know you'd 
taken that feilow singlehanded I'd say 
you were scared." 

"I am" Mrs. Miniver confessed. 

But she found it surprisingly easy to 
overcome Lady Beldon's objections, 
mainly because she didn't have any valid 
ones. The flimsy excuse that Carol was 
too young didn't hold up, at all. when 
Mrs. Miniver remembered that Lady 
Beldon herself had eloped at sixteen. 
Lady Beldon gave in. She did more than 
that; she agreed to let Carol and Vin 
marry at once. 

They were married the next morning. 
All through the simple ceremony, Mrs. 
Miniver kept thinking of her own wed- 
ding in this same church, during the 
last war, just before Clem left for the 
front. She prayed silently that every- 
thing would turn out well for her son 
and his bride, as it had done for her. 

WIN and Carol went to Scotland for 
two weeks and, in that time, Mrs. Min- 
iver redecorated Vin's room for them. 
She had barely moved in the twin beds 
and hung fresh curtains, when a raid of 
unprecedented ferocity began. And this 
time. Starlings was hit. Mrs. Miniver 
came out of the shelter to find all the 
windows smashed and the dining room 
wall almost gone. 

She and Clem did the best they could 
to clear away the debris. Somehow, Mrs. 
Miniver found she wasn't nearly so un- 
happy as she had thought she would be. 
Her lovely things had been destroyed — 
yes — but the children were safe and she 
had Clem and Vin — and now Carol. 

The honeymooners came home, looking 
healthy and radiantly happy, just in time 
for the Flower Show. Lady Beldon had 
insisted on holding it. And, when Mrs. 
Miniver saw the gay canopies and the 
crowded, wide lawns of Beldon Hall, she 
saw that Lady Beldon had been wise. 
It was good to forget the war, even for 
a little. 

Mrs. Miniver was touched to see how 
delighted Lady Beldon really was with 
Vin. It was amusing to watch her severe 
old face trying to maintain its hauteur, 
while Vin twitted her about her roses 
and her airs, and to see how fondly 
her old eyes followed him as he moved 
about. 

It was late afternoon and time for 
Lady Beldon to make the awards. The 
old woman moved regally from table to 
table, reading aloud the decisions. And 
then, only the roses remained. 

Lady Beldon looked at the roses — hers 
and Ballard's rose, the "Mrs. Miniver." 
She picked up the slip of pap>er on which 
the judges had written their choice. Mrs. 
Miniver saw a gleam of triumph come 
into the old eyes. 

Then. Lady Beldon looked at Vin and 
Mrs. Miniver saw her son shake his head 
chidingly. Lady Beldon flushed and 
crumpled the paper in her palm. 

"And now, ladies and gentlemen," she 
said firmly, "it is my pleasure to award 
the Silver Challenge Cup to Mr. Ballard, 
for his magnificent rose — the best rose 
grown in the village in the past year." 
She looked defiantly at Vin. 

There was a burst of cheering and 
Mrs. Miniver just had tiine to see Bal- 
lard's amazed, delighted smile, before 
Foley, the air-raid warden, came running 
from the Hall and Lady Beldon an- 
nounced that people should either go 
home, or down into her cellars, because 
raiders were on the way from the coast 

Mrs. Miniver thought of Judy and 
Toby alone at home and looked fran- 
tically about for Clem. In a moment. 

PHOTOPL.w comhined with movie mirror 



her family was at her side. Vin had to go 
to the airfield and Clem had to drive him 
there. They kissed one another as they 
ran toward the crowded driveway. 

Dusk was falling. Now, the drone of 
planes was audible. Mrs. Miniver stepp>ed 
on the throttle, willing speed into the 
motor. Suddenly, planes were directly 
overhead, guns barking. Mrs. Miniver 
pulled up at the side of the road and 
turned off her lights. It was senseless 
making a target of themselves. 

She looked at Carol. The girl's eyes 
were wide with terror and, as she stared 
off into the gathering darkness, a burst 
of flame was reflected on her face. Mrs. 
Miniver looked ai-ound. A burning plane 
was spiraling to the earth. 

"It could be Vin!" Carol cried. 

"No, no," Mrs. Miniver said. "There 
hasn't been time, yet." 

"Of course," Carol tried to reassure 
herself, but her eyes were still full of 
horror. 

A PLANE roared out of the gloom, 
heading right for them. Mrs. Miniver 
screamed to Carol to look out and 
crouched down. She heard the machine 
gun bullets spraying the car. Then, the 
din receded and Mrs. Miniver raised her 
head. 

Up ahead, the village lay outlined 
against the sky in a dull red glow. 

"Carol!" she cried. "It's burning. We've 
got to get there. They'll need help — " 
she stopped, aware of a terrible silence 
beside her. 

Carol's face was buried in the seat. 
Mrs. Miniver touched her shoulder gent- 
ly and the girl slid slowly, stiffly, toward 
her. For a moment, Mrs. Miniver's mind 
refused to accept what her eyes told her. 
She can't be dead, her heart cried, she 
can't be! But it was so. 



Blindly, Mrs. Miniver started the car. 
She had no idea how she got home, or 
how she managed to carry Carol inside. 
The phone was ringing and she answered 
it automatically. 

■ "Yes, dear," she heard herself saying to 
Vin, "we're all right — safe. Don't worry, 
dear. You're going up, now?" She had 
to grit her teeth. "Good luck, darling." 

She made sure the childi-en were safe 
in the shelter and then took up her vigil 
beside Carol's body. At first, it surprised 
her that she could not cry. Then, she 
knew this was not the time for tears or 
fear. Terrible things were happening and 
only strength and courage would end 
them. She had only one fear — that this 
blow would crush Vin. 

But, when he returned, she knew at 
once that neither pain, nor sorrow, could 
ever defeat him. He was pale and terri- 
bly, grimly, calm. "It's all right. Mother," 
he said softly. "I know. Where is she?" 

Mrs. Miniver couldn't sf>eak. She 
nodded up the stairs. Through the tears 
that came, now, at last, she watched her 
son walk quietly to take his last farewell 
from the love that had been his for so 
little a time. 

BELHAM was badly hit in that raid, but 
the spirit of the i>eople was not 
broken. Mrs. Miniver knew this, even 
before she walked into the church that 
Sunday morning. There was a new 
seriousness about everyone, even the 
children, but not fear. 

Vin was beside her, but when Lady 
Beldon walked slowly — and alone — down 
the aisle he went over and took his place 
at the old woman's side. Mrs. Miniver's 
eyes filled with tears and she took Clem's 
hand and held it tightly. 

The Vicar stood in the propped -up 
pulpit, looking down at them for a long 



moment, his white head haloed in a 
brilliant shaft of sunlight. 

"We, in this quiet little corner of Eng- 
land," he began softly, "have suffered 
the loss of friends very dear to us — close 
to this church, close to our affections. 
James Ballard, our station master and 
bell ringer — the proud winner, only an 
hour before his death, of the Beldon cup 
for his beautiful rose. And our hearts 
go out to the two families who share 
the cruel loss of a young and lovely girl 
who was married at this altar only two 
weeks ago. The homes of many 
have been destroyed, the lives of young 
and old have been taken. Well, we have 
buried our dead and we shall not forget 
them. 

"These cruel blows will not weaken us. 
Rather, they will inspire us with un- 
breakable determination to free ourselves 
and those who come after us from the 
tyranny and terror that threaten to strike 
us down. For this is a war not only of 
soldiers in uniform, of trenches and gun 
positions and battlefields. It is a war of 
the people — of all the people— and it is 
fought in the heart and in the home of 
every man and woman and child who 
loves freedom. We will fight it, then — 
and may God defend the right!" 

The full, vibrant tones of the organ 
swelled through the church and all stood 
to sing. Mrs. Miniver found her eyes 
traveling along the shaft of sunlight, up- 
ward, upward to the large, jagged hole 
in the roof of the church and through it, 
upward to the sky, where she could see 
planes, glittering and silvery, flying in V 
formation, winging eastward and upward. 

And it seemed to her that this was 
symbolic of man's spirit, man's spirit 
striving ever upward, vipward. And she 
knew nothing could ever conquer this. 
The End. 



★ *★*★★★*★*★*★★★*★★★★★★*★**★★★**★ 

Linda Darnell Tells Why She Left Home! 



THE MOST HUMAN story a Hollywood star ever told aboiit 
herself is in Stardom this month! Linda Darnell says in her 
own words: "I have left home, and for good. I shall never go 
back. I have broken the Silver Cord which binds every child to 
its parents, and which, if it binds too long, strangles it ... It is 
unfortunate that we have to take our adult lives, as we take our 
lives at birth, at the pain of our parents — but life is like that." 
Read this real-life revelation in Stardom! 

See Ann Sheridan's "Army Diary," explaining all 
her experiences in a tour of the camps! Read how 
Hedy Lamarr looks forward to marriage after her 
earlier failures. Let our quiz prove, "Have You a 
Hollywood Personality?" 

The complete fiction version of Gene Tierney's 
new film, "Thunder Birds!" Also "Remember 
Pearl Harbor," the picture every producer wanted 
to make, in story form! Rita Hayworth collabo- 
rates on a short story! 

Gorgeous color portraits of Deanna Durbin, 
I Hedy Lamarr, Ginger Rogers! Photo stories 
I on Bob Hope and Bing Crosby; Hollywood's 
I loveliest extras; "Tales of Manhattan," Holly- 
■ wood's new-type movie! 

STARDOM 

Julv Stardom On Sale At All Stands .Iun« 171 



JULY, 1942 



97 




Fixed up for fun on 
the beach: Ann Miller 



Talking out loud about 
^IMH^ some things girls don't usu- 
ally discuss — and should! 

BY mm ma 



^iaIcii, <^iteii. III lltc 

Your chances on the beach — or 
anywhere else — are as good as Ann 
Miller's. She has brains, youth, 
ability and ambition. So have you — 
and you probably know how to use 
them. But there may be one beach 
pointer you've skipped. You can buy 
yourself a pretty bathing suit, use 
some waterproof make-up and look 
just as enticing as Ann does, but 
you still may leave the beach without 
an evening date unless you do a little 
thinking on this one sh-sh subject. 
That's using deodorants as faithfully 
for bathing-suit business as you 
would for any other activity. 

Now, more than ever, what with the 
shortage of stockings and shields, deo- 
dorants and depilatories are "musts." 
Your legs must be pretty and smooth 
on the beach; you must be sure you're 
absolutely as fresh as you look; and 
that bronzed -beauty look you're go- 
ing to acquire must never never be 
marred by a little dark mustache over 
your lip — which is something a lot of 
girls never think about and should! 
So arm yourself with the two "d's" 
and you'll still be as much of a siren 
after a day of sunning as you were 
when you started out. 



Miss Miller's thoughts on the 
subject? They're short and to the 
point: "Nice features and a well- 
proportioned figure just can't be had 
by everybody, but everybody can 
work on the other angles of beauty 
and they count just as much — as, for 
instance, being fresh at all times and 
not letting superfluous hair get out of 
control. You know yourself how you 
feel around somebody who isn't care- 
ful about them!" 

And realize there's a footage prob- 
lem, come summer. Walks in the sun 
are fun, but they can do a lot of 
damage to your grooming technique, 
because walks mean the "hot foot," 
which can ruin your shoes — and your 
social chances. Take care of that 
point by rubbing your little feet with 
some cream deodorant and then make 
double-sure by sprinkling powder 
deodorant in your shoes. 

J\low t:J-l-oiI. ~Ljcm ,:J-l-anJ.i ti^y 

— and find out whether you're a 
well-groomed lady. Nail polish makes 
the upper part of your hands look 
beauteous, but it doesn't take care of 



the inside of your nails. So regardless 
of how much a cover-up the nail 
polish gives you, don't forget to clean 
the inside of the nails. If you don't, 
you'll get a black mark if anyone gets 
an inside look at your hands! 



«</ an C-,at: 



So you have a pretty brushed-up 
pompadour hair-do. That will make 
other people look at you — and it 
should make you look carefully to 
your eai's. Be sure, oh lady, that 
they're spic and span and in pretty 
shape to have soft nothings whispered 
into them. Also — another sh-sh sub- 
ject — don't think you're ready for a 
kiss close-up unless you've used little 
manicure scissors on the inside of vour 



Be Katy- in -the -kitchen for an 
onion-sandwich party after the movies 
but be sure you have a pretty apron 
and that the onions don't linger on 
your lily-white hands. How to man- 
age that? Just a bit of deodorant 
cream rubbed over your fingers — and 
you'll never cry any tears after you've 
finished the paring process! 



98 



PHOTOPLAY combined icith stowt. mirrof 



The Shadow Stage 

{Contmued from page 7) 



^ In This Our Life (Warners) 

It's About: A }iorrihly selfish woman who 
brings sorrow to herself and family. 

THIS isn't Bette Davis's best picture or 
best performance by a long shot. In 
fact, it seemed to this reviewer that the 
character Bette played was completely 
false. There is just no rhyme or reason 
for anyone's being so downright ornery 
unless she is mentally ill and where, then, 
is the entertainment value in watching a 
warped mind at work? 

Olivia de Havilland is very good as 
Bette's sister; good but not sound or solid 
because once again the character is weak- 
ly drawn. Dennis Morgan as the man 
Bette drives to suicide and George Brent 
as the man fortunate enough to escape 
her psycopathic lasso are fair. Charles 
Coburn is Bette's selfish uncle and Billie 
Burke her weak mother. A Negro lad, 
Ernest Anderson, framed on a murder 
charge by Bette, is a fine, sincere actor. 

Your Reviewer Says: Too abnormally un- 
pleasant for enjoyment. 

Juke Girl (Warners) 

It's About: Two friends whose paths are 
se}Mrated by a cause and a girl. 

FRANKLY, this is so much vegetable 
salad with tomatoes and string beans 
flooding the story of the trials of farmers 
and workers under the dominance of 
racketeering produce magnate Gene 
Lockhart. 

Appalled by conditions, Ronald Reagan 
sides with a Greek farmer, George Tobias, 
a victim of Lockhart's greed. Reagan is 
backed up in his ideals by Ann Shei'i- 
dan, travelling juke girl, who feels her- 
self unworthy of his offer of marriage 
and, although she really loves him, leaves 
him. 

Richard Whorf, Reagan's friend, 
decides to throw in his lot on the side of 
the money changers until Reagan and 
Ann find themselves accused of murder. 
It's then Whorf proves his worth. 

You'll be pretty much bored with all 
of this soy bean drama. 

Your Reviewer Says: It should be plowed 
under. 

^ I Married An Angel (M-G-M) 

It's About: A playboy who marries a 
J dream angel. 

' XXUCH below the standard of Metro- 
I ' ' ' Goldwyn-Mayer's singing stars Nel- 
1 son Eddy and Jeanette MacDonald is 
I this bit of trivia taken from the paper- 
thin stage play of several seasons ago. 
Neither star is given songs that come 
even near meeting his vocal ability. 

Nelson is a Budapest playboy who falls 
in love with an innocent and unsophisti- 
cated little clerk in his bank. One night 
he dreams she's an angel whose honesty 
and forthrightness throw everyone into 
a dither. He awakes to find her not an 
angel but the girl he loves. 
Because this pair is your favorite and 
■ you approve them in anything, we give 
this our one-check blessing and hope for 
better things next time. 

Your Reviewer Says: Two artists in search 
of a good story. 



^ The Spoilers (Universal) 

It's About: Gold, love and unlawfulness 
in Alaska. 

(F YOU are too young to remember the 
terrific fight scene in the silent ver- 
sion of Jack London's gusty tale of 
Alaska in the gold-rush days, you can 
content yourself that the battle royal 
between John Wayne and Randy Scott 
in this version is just as exciting. 

John, beloved of Marlene Dietrich, 
owner of a gambling saloon, discovers 
Randy Scott is a crook attempting to 
steal the mine Wayne owns jointly with 
Harry Carey. That's where the fight 
comes in. 

Dietrich is beautiful to see and adds 
quite a bit of color to her role. Margaret 
Lindsay and her uncle Samuel Hinds are 
accomplices of Scott's. Richard Barthel- 
mess is an odd character, in love with 
Dietrich. Wayne gives a strong per- 
formance, a real standout. It's the fight 
scene, however, that steals the picture 
and wins our one-check approval. 

Your Reviewer Soys: Entertainment black 
and strong with no cream or sugar. 

Mokey (M-G-M) 

It's About: A misunderstood boy who gets 
into serious trouble. 

DONNA REED, M-G-M's young hope- 
ful, is handed the thankless role of a 
young stepmother who refuses to under- 
stand her husband's son Mokey. The 
fact that Mokey appeals to the sympa- 
thies makes it all the tougher for Donna. 

Bobby Blake as Mokey is very good — 
too good, really. Dan Dailey Jr., as his 
father, is not given enough footage. 

Your Reviewer Says: Tears for one and all. 

^ Saboteur (Universal) 

It's About: A defense plant worker who 
uncovers a group of saboteurs. 

I N typical Alfred Hitchcock manner this 
' story holds the interest, stirs the emo- 
tions and grips the imagination although 
Director Hitchcock takes little pains to 
tie together loose ends of the story. 

But excusing these glaring discrep- 
ancies you really have a fine piece of 
fright-wig shenanigans here that begins 
when Robert Cummings, a defense plant 
worker, is accused of setting fire to the 
plant and killing his friend by placing 
gasoline in the fire extinguisher. Cum- 
mings escapes the police, meets Priscilla 
Lane and eventually runs into the real 
saboteurs. 

Priscilla Lane is fair, Cummings thor- 
oughly convincing. Otto Kruger, Alma 
Kruger, Alan Baxter and Norman Lloyd 
excellent as enemies of our country. The 
circus group is especially good. 

Your Reviewer Says: Baffling, bewildering, 
bewitching. 

Twin Beds (Small-U.A.) 

It's About: Too majiy husbands in one 
bedroom. 

\A/ELL, it beats us! Maybe it's just that 
' " the sight of Mischa Auer and Ernest 
Truex without their trousers, skidding in 
and out of Joan Bennett's bedroom, failed 



AM ADDRESS Of 

OlSTIKCIIOK 




The Drake ... on ihe shores of beauli' 
ful Lake Miehi<;an . . offers evcrv most 
desired eonvenience to ihe visitor in 
Chicago. It's close to everything of most 
general interest ■ ■ • shopping centers, 
theatres, movies, smart night clubs, ball 
parks, exhibition centers, and sport and 
convention stadiums. Fast transportation 
to all parts of Chicago and suburbs. 
Splendid guest accommodations. Quiet, 
congenial surroundings. Excellent food 
and refreshments- Superb entertain- 
ment and dancing in the Drake's exotic 
Camellia House. Away from the noise 
and congestion of the Chicago Loop — 
)et, only S minutes from Downtown. 
A. S. KIRKEBY, Managing Director 



The Urahe 

laic Skorc Irlic at Mickiiai titiit 

CHICHO 





NAILS 

AT A MOMENT'S NOTICE 

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tapering nails for 
everyone! Cover broken, 
short, thin nails with 
Nu-Nails. Can be worn 
any length and polished 
any (iesired shade. Will 
not harm nor soften nat- 
ural nails. Defies detertion. Waterproof. 
Easily applied: reaiains firm. No etfect on 
nail ftiovvtli or cuticle. Removed at will. 
Set of Ten. 20c. All Tu- and 10c stores. 

NU-NAILS 



S251 W. Ha 



ison St., Dept 



FINGERNAILS 

16-H. Chicago 



Try Dr. R. Schiffmann s ASTHMADOR the 
next time an asthmatic aaack leaves you gasp- 
ing for breath. ASTHMADOR'S aromatic fumes 
aid in reducing the severity of the attack-help 
you breathe more easily. And it s economical, 
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^conditions in our modern laboratory— its qual- 
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\Try ASTHMADOR in any of three forms 
powder, cigarette or pipe mixture. Atall 
drug stores— or write today for a free 
sample to R. SCHIFFMANN ' 
..CO Los Angeles, Cal i 
Dept. N-60. 



JULY, 1942 



99 



to amuse us as it should. Even husband 
George Brent, who kept missing the in- 
terlopers by a hairsbreadth, seemed ill at 
ease and as thoroughly unamused as we 
were. 

Una Merkel and Glenda Farrell added 
lit.le for our money. If you howl at this 
and really get a kick out of it, decide it's 
this reviewer's bad digestion that's at 
fault and let it go at that. 

Your Reviewer Says: What's all the gig- 
gHng about, anyway? 

Sing For Your Supper (Columbia) 

It's About: Rich girl meets band leader. 

JINX FALKENBURG, the girl who be- 
came famous as a model, swings from 
modeling to movie acting in a little thing 
about a rich girl who owns the property 
on which an obscure band leader is try- 
ing to make good in a dime-a-dance hall. 
To her amazement, Jinx is mistaken for 
a taxi dancer and ends up a singer with 
the band. Gossip and chatter columnists 
reveal the truth to the smitten band 
leader; he goes his way; and Jinx goes 
his way. 

Bert Gordon, the mad "Roosian" of 
radio faime, makes people laugh. 

Your Reviewer Says: Well, a girl has to 
take what's given her, doesn't she? 

Rings On Her Fingers 
(20th Century-Fox) 

It's About: A hoy who wanted a boat and 
a girl loho wanted rings on her fingers. 

|_J ERE'S Gene Tierney looking the way 
' ' all the boys want to see her — which 
means she wears modern clothes — and 
acting in a finished fashion that does 
credit to her Hollywood tutors. Here's 
Henry Fonda, running around slightly 
out of place and not showing to too much 
advantage, as a poor wage slave who's 
been saving his pennies — and we do mean 
pennies — to buy himself a boat. 

Henry finds the boat the same place 
he finds Gene — at a millionaire's resort 
where he's come to meet ship owners. 
Gene's there with her pseudo-mama. 
Spring Byington, really just a racketeer 
at heart who's plucked Gene out of a 
department store job and is using her as 
a front to lure on bait for her and Laird 
Cregar's shady swindling activities. 
Henry thinks he's found an heiress and 
Gene thinks she's found a millionaire, 
but they're really in love, anyway, so off 
they go together. 

Before they can get married and live 
happily ever after, however, lots of little 
things have to be fixed up. That's where 
John Shepperd comes in, doing his bit as 
a wealthy suitor of Gene's. 

It's all amusing and makes for a good 
evening's entertainment. 

Your Reviewer Says: A good "no check" 
picture. 

The Wife Takes A Flyer 
(Colunnbia) 

It's About: Love troubles under Nazi 
dominayice. 

THIS is laid in Holland under the Hitler 
■ regime with Allyn Joslyn, a Nazi major, 
polluted with dishonorable intentions to- 
ward Joan Bennett who is about to di- 
vorce her absent husband. 

Determined to get Miss Bennett, Jos- 
lyn moves into her home. In the home 



Franchot Tone, an R.A.F. flyer, is passed 
ofl as the absent husband who, to his 
amusement and Joan's bewilderment, 
must be divorced next day by Joan so 
as to keep Nazi Joslyn from getting sus- 
picious. 

To boil it down they make a monkey 
out of the major. That part we loved. 

Your Reviewer Says: Not hotter than 
Dutch love, we assure you. 

Whispering Ghosts 
(20th Century-Fox) 

it's About: A smart-aleck radio detec- 
tive who runs into real trouble. 

jkA ILTON BERLE goes on the air each 
IVI week and unravels mysteries given 
up by the police. But when Milton at- 
tempts to solve the murder of an old sea 
dog he goes to his abandoned boat, runs 
into two ham actors hired to frame Berle 
into a nervous collapse, Brenda Joyce, 
niece of the murdered man in search of 
hidden jewels, and several other unin- 
vited guests. 

John Carradine is precious as one of 
the ham actors, Willie Best funny as 
Berle 's colored valet, and Berle himself 
sharp as a tack. 

Your Reviewer Says: Quite a sassy little 
number. 

The Man Who Wouldn't Die 
(20th Century-Fox) 

It's About: A corpse that commits mur- 
ders. 

THEY buried the dead man in the forest, 
' but that night when Marjorie Weaver 
is shot at, they hurry to the grave to 
discover that the corpse is missing. 

Frightened silly, Miss Weaver pre- 
tends Lloyd Nolan (who is really Michael 
Shayne, a detective) is her new husband 
in order that he may solve the mystery. 
When Henry Wilcoxon, family physician, 
proves to be the next victim, Nolan 
quickly grabs the murderer. 

Your Reviewer Says: Too farfetched. 

Suicide Squadron (Republic) 

It's About: The romance between a Polish 
flyer and an American reporter. 

ANTON WALBROOK gives another 
sterling performance as a Polish piano 
virtuoso on a concert tour through the 
States. Here he meets and marries Sally 
Gray, an American girl, who tries to keep 
him by her side. 

But the musician-flyer is anxious and 
determined to get back to Europe to 
fight for his native Poland and so he 
leaves his bride and goes to the front. 
The actual fight scenes, filmed from 
R.A.F. Spitfires, are exceedingly impres- 
sive for their authenticity and thrilling 
details. 

Derrick De Marney, Irish pal of Wal- 
brook's, gives a bang-up performance. 

Your Reviewer Says: If you aren't weary 
of war fare. 

The Corpse Vanishes (Monogram) 

It's About: A modern Bluebeard. 

IMAGINE, if you can, brides mysteri- 
' ously disappearing right and left to be 
seen no more. A gal reporter, Luana 



Walters, finally can endure it no longer 
(bravo) and sets out to investigate. 
Through a clue of poisoned orchids she 
traces the missing brides to the fright- 
wig lair of Bela Lugosi, a screwy scientist, 
where perfectly dreadful doings have 
been done. 

We have one suggestion to make. Send 
this to the land of the rising scum and if 
it doesn't scare the Japs out of their wits, 
they'll die from laughter. It can't miss 
either way. 

Your Reviewer Says: Corpses, get thee 
hence! 

The Mystery Of Marie Roget 
(Universal) 

It's About: An actress who disappears 

twice. 

THEY find the body of Maria Montez, a 
' missing actress, in the river — her face 
clawed beyond recognition. But alas, 
when the police, with clever Patric 
Knowles in charge, are about to close the 
case the actress herself walks in. She 
has been erroneously identified. 

Then it turns out the actress planned to 
murder her sister Camille, but before she 
can carry out her fearful purpose she is 
really murdered. 

Over Paris rooftops and down lanes go 
the pursuers after the murderer, lending 
quite a bit of action to the gruesome 
proceedings. Eddie Norris is the so- 
called villain. 

Why must people always be murdered 
in movies, we rise up to ask. 

Your Reviewer Says: We sit right down 
again. No one knows. 

True To The Army (Paramount) 

It's About: A refugee from racketeers 
who hides in an Army camp. 

jUDY CANOVA, a tightrope walker of 
all things, sees a murder committed 
which makes her a dangerous woman to 
have around. So Judy flees the mur- 
derers and lands in an Army camp where 
she is disguised as a soldier by her beau 
Jerry Colonna and stage star Allan Jones, 
a private in the Army. 

Of course, Judy gets a chance to sing 
and monkey-doodle around when Jones 
puts on shows to keep up the soldiers" 
morale. They got ours down to below 
sea level. 

We like Ann Miller's snappy tapping 
and William Demarest's befuddlement as 
the top sergeant, though. 

Your Reviewer Soys: So this is what goes 
on in Army campsi 

Mississippi Gambler (Universal) 

It's About: A reporter who traces down a 
race-track murderer. 

YOU can go out for a smoke while this 
one is on, for we warn you sitting 
through it isn't worth the effort. 

If you care at all, it's about a reporter 
(Kent Taylor) who never forgets a face. 
Witnessing the murder of a jockey as 
he's about to cross the finish line, Taylor 
grabs a cab and starts a thousand-mile 
chase that ends up in the discovery of 
the murderer, disguised through plastic 
surgery. But he didn't fool us. Bub, did 
he? 

Frances Langford sings. There's no 
reason for singing, that we promise you. 

Your Reviewer Says: Prittle-prattle. 



100 



PHOTOPL.w combined with movie mirror 



Murder In The Big House 
(Warners) 

It's About: A young reporter ivho dis- 
covers the reason for an electrocution 
that occurs too soon. 

A CONVICT was electrocuted one hour 
before the set time. A young reporter 
Van Johnson sets out to find why. With 
the aid of Faye Emerson, the editor's 
secretary, and George Meeker, a sea- 
soned reporter, he uncovers a pyolitical 
frame-up that almost leads to another 
murder. 

', None of this is terribly important or 
f even halfway so, for our money. 

Your Reviewer Says: Minor league stuff. 

I Was Framed (Warners) 

It's About: A reporter framed on a mur- 
der charge. 

POLITICAL crooks frame their enemy, 
a newspaper photographer, by slug- 
ging him into unconsciousness, sprinkling 
his clothes with liquor and placing him 
behind the wheel of a car that runs down 
three p>eople. 



The reporter, Michael Ames, breaks 
jail, flees with his wife Julie Bishop, 
about to have a baby, to another town, 
becomes a newspaper editor, is black- 
mailed and finally discovers he's been 
cleared of the former charge. 

If there is one amongst us who cares 
a hoot about aU this, let him speak now 
or forever hold his peace. 

Your Reviewer Says: We've all been 
framed. 

Scattergood Rides High 
(RKO-Radio) 

It's About: A small-tow7i philosopher 
helps a lad to find his place in the world. 

GUY KIBBEE grows more and more 
into an actual replica of Clarence 
Buddington Kelland's famous Scatter- 
good Baines. In this episode he aids 
Kenneth Howell, whose father died in a 
sulky race, in getting back his father's 
favorite horses by outwitting a small- 
town snob with a henpecked husband. 

Jed Prouty is very good as the 
trampled-upon husband. The race scenes 
are most interesting. There's a warm 
homey coziness about these stories that's 



most endearing because- it is so very 
typical of an American way of life. 

Your Reviewer Says: A family affair. 

Affairs Of Jimmy Valentine 
(Republic) 

It's About: A radio publicity stunt that 
leads to murder. 

I S there a Jimmy Valentine in the 
town? A man who once cracked safes 
and who now cracks only jokes? Well, 
there's a reward of $10,000 posted for his 
identity and that's where the monkey 
business starts to develop in this picture. 
Dennis O'Keefe is the brash young radio 
publicity man who thinks up this gag of 
locating a Jimmy Valentine to revive a 
drooping radio serial. He finds his Val- 
entine all right, but it leads only to mur- 
der — two murders, in fact. 

Gloria Dickson, who loves O'Keefe 
and who loses him, is very good. Little 
Ruth Terry as the daughter is dynamite 
in a small bundle. 

The murderer? Save your breath, 
we're not telling. 

Your Reviewer Soys: Fair to middling. 



^ RIDE 'EM COWBOY— Universal: Bud Abbott 
and Lou Costello, peanut venders from a New 
York rndeo, land on a dude ranch out West at the 
same time as would-be Western hero Dick Foran 
and meet Anne Gwynne. There are several hilarious 
moments. (May) 

' RIGHT TO THE HEART— 20th Century-Fox: 
The mi-Kture of life at a fighters' training camp 
with romance provides good entertainment in this 
little picture, with Joseph Allen Jr. as a wealthy 
plavbov. Brenda Joyce is the owner's daughter, and 
Cobin.T Wright Jr. the socialite. It's human and 
amusing. 

.w" RIO R/r^— M-G-M: This isn't the old "Rio 
I Rita," but it has Abbott and Costello, which makes 
1 up for an incredibly confused job of story writing. 
; The p i'' have never been funnier as they blunder 
' into I I'lot laid by Nazis in a Texas resort. 

'iKath '>n and John Carroll provide the 

jsinsi- . I ) ■ Miance and Pat Dane, Tom Conway 
and I'cter Whitney are spies. (June) 

<ROAD TO HAPPINESS— Monogram: John 
'Boles is back again, handsomer than ever, in this 
(heart-warming story that has John returning from 
Europe to find his wife. Mona Barrie. has divorced 
I him. He takes son Billy Lee out of school and 
Ibrings him home to a furnished room. Mr. Boles 
1 sings delightfully and Billy does a fine job. (April) 

I/' ROXIE HART— 20th Century-Fox: Ginger 
Rogers plays the brazen, tawdry Roxie who agrees 
jto take a murder rap for the resultant publicity. 
lAdolphe Menjou, the theatrical defense attorney; 
I George Montgomery, reporter; William Frawley 
'and Lynne Overman add up to a strong cast. (April) 

SALUTE TO COURACE—M-G-M: Conrad Veidt 
.expertly handles a dual role in this melodrama, that 
'of twin brothers, on*? a loyal American and the 

other a Nazi. Ann Ayars is very good as the spy 

caught in the intrigue, but it's Veidt 's picture. 

(April) 

jSKCRET AGENT OF JAPAN— 2()th Century- 
.Fox: Briti.sh agent Lynn Bari calls for a mysterious 
(letter at the Shanghai night club run by Preston 
j Foster. Foster, who thinks she's employed by the 
Japs, gets into the fray, and finally discovers the 
head man of the Japs. Noel Madison, Sen Yung, 
(Miss Bari and Mr. Foster are swell, and the story's 
jquite exciting. (June) 

'shut my big AfOC/rH— Columbia- Joe E. 

; Brown gives you plenty of laughs as the wealthy 
horticulturist who goes out West with his valet, 
Fritz Feld. to beautify the desert. (May) 

\SLEEPYTIME C/4L— Republic : A hodgepodge 
'about three hotel chefs. Billv Gilbert. Fritz Feld. 
land Jay Novello, who help Judy Canova impersonate 
|a night club singer so she can win a contest to sing 
iwith Skinnay Ennis's band, but Harold Huber, 
jgangster promoter of the real singer, Ruth Terry, 
(kind of messes up the plans. (June) 

U.VrFFK SMITH. YARD B/J?D— Monogram : 
15«i(^.v Smith, played by Bud Duncan, a moon- 
ishiner who escapes revcnuers. finds himself in an 

Army camp, Snufliy has to pull some tricks before 

the Army will let him stay. (April) 



Brief Reviews 

(Continued from page 22) 

^ S0.\' OF FURY— 20th Century-Fox: A rip- 
snorter movie, with George Sanders as the cruel 
baronet who abuses his nephew, Tyrone Power, 
until Tyrone assaults him and must flee England. 
With John Carradine, he goes to a tropical island 
where he finds a fortune in pearls and lovely Gene 
Tierney, and then returns to England. Roddy Mc- 
Dowall is the young Tyrone. (April) 

✓ SONG OF THE ISLANDS— 20th Century- 
Fox: W^e can hand this story very little, but the 
picture has sex, music, comedy, Betty (5rable in 
a grass skirt, Victor Mature in a sarong. Techni- 
color scenery, the clowning of Jack Oakie and 
Hilo Hattie and grand performances by Thomas 
Mitchell and George Barbier. What else would 
you want? (May) 

THIS TIME FOR KEEPS— U-G-M: Ann Ruth- 
erford and Robert Sterling find their first year of 
marriage pretty shaky going. It doesn't help any 
when Sterling goes to work for his father-in-law, 
Guy Kibbee. It's a nice little film. (May) 

\/^^ TO BE OR NOT TO S£— Korda-U.A. : 
Carole Lombard's last picture remains a fitting 
tribute to her beauty and personality. She plays 
the wife of Jack Benny, both stars, who along with 
their troupe are caught in Poland by the Nazi in- 
vasion but manage to upset the Gestapo. (May) 

TO THE SHORES OF TRIPOLI— 20th 
Century-Fox: A whooper dooper service picture that 
is bound to stir the patriotism of all .-Xmericans, 
proud of their Marines. The story is the familiar 
one of the smart-aleck, John Payne, who antagonizes 
his fellows, and later proves himself a hero. Ran- 
dolph Scott, Maureen O'Hara as the Army nurse 
who loves Payne, Nancy Kelly and William Tracy 
are all very good. (June) 

TORPEDO BOAT— Paramount: Richard Arlen 
and Phil Terry conceive a device for projecting 
both planes into the air and torpedo boats into the 
water from the same carrier in this timely and 
exciting picture. Jean Parker and Cecelia Parker 
are very good. (May) 

TRAGEDY AT MIDNIGHT. ^—Republic: A 
too-anaemic Thin Man is this mystery story about 
a radio detective, John Howard, who, with his 
wife Margaret Lindsay, moves into an apartment 
vacated by Miles Mander and Mona Barrie and 
run smack into a little murder mystery. (May) 

TREAT 'EM ROaCH— Universal : Smartly paced 
yarn about a prize fighter, Eddie Albert, who, with 
Peggy Moran, helps clear his father, whose books 
show a shortage. (April) 

^ TUTTLES OF TAHITI, r/-/£— RKO-Radio: 
.\ novel and refreshingly different story of the im- 
provident clan of Tuttles who dislike work and have 
a whale of a good time. Charles Laughton is at his 
best as the lackadaisical head of the enormous 
family, and Jon Hall is his sailor son who returns 
home and falls in love with neighbor Peggy Drake. 
It's quaint and amusing and so well done. (June) 

TH'-O YANKS IN TRI NIDAD— Columbia: Racke- 
teers Pat O'Brian and Brian Donlevy join the army 



and keep up all their old enmity and constant bed- 
lamming, even falling in love with the same girl, 
Janet Blair, night club singer. Sergeant I)onald 
MacBride does his best to put the crimp on the 
boy's activities, which makes for a lot of laughs. 
It's gusty and rowdy. (June) 

^ VALLEY OF THE 5t;.V—RKO Radio: Pic- 
turesque and romantic is this light-hearted Western, 
with James Craig preventing the marriage of Lu- 
cille Ball to Dean Jagger, a crooked Indian agent. 
Craig's fight for Jagger's life with the Indian, 
Gerontmo, played by Tom Tyler, is terrifically sus- 
penseful. An escapist piece. (April) 

✓ WE WERE DANCING— M-G-M: Melvyn 
Douglas, a Viennese baron, and Norma Shearer, a 
Polish countess, elope on the eve of Norma's wed- 
ding to wealthy Lee Bowman, and the penniless 
pair make a profession of being house guests of the 
rich, which works splendidly until Melvyn meets 
Gail Patrick. It's all too, too gay. (April) 

WHO IS HOPE SCHUYLER?— 20th Century- 
Fox: Five women are suspected of being a secret 
political ringleader and spiritualist using the name 
of Hope Schuyler and wanted as witness in a bribery 
trial. Is she Mary Howard. Sheila Ryan. Janis 
Carter. Rose Hobart or Joan Valerie? S'ou'll find 
out when almost everyone has been killed. \Vith 
John Payne, Joseph Allen Jr., and Ricardo Cortez. 
(June) 

WILD BILL HICKOK RIDES— Warners: This 
is the same Western you've seen before, only this 
time Constance Bennett is the shady-lady heroine 
and Bruce Cabot is the noble hero, and Warren 
William is the villainous bad man. (May) 

WOMAN OF THE YEAR—UG W: Kath- 
arine Hepburn plays a famous columnist who falls 
in love with and marries sports writer Spencer 
Tracy but is so wrapped up in her career that her 
marriage takes second place, which doesn't suit 
Tracy at all. It's gay, smart, funny. (April) 

YANK ON THE BURMA ROAD, W— M-G-M: 
Barry Nelson is a taxicab hero who is offered the 
job of piloting trucks over the Burma Road. There 
he meets Laraine Day. Timely. (April) 

YOKEL BOK— Republic: Alan Mowbray, head of 
a Hollywood studio, brings on the Nation's Number 
One ^Iovie Fan, Eddie Foy Jr., to advise on stories, 
but the result is that Public Enemy Number One 
takes over and eventually saves the studio from 
ruin. Albert Dekker as the gangster and Joan 
Davis, his warbling sister, are quite good, but it's 
corn. (June) 

YOUNG AMERICA— 20th Century-Fox: If you're 
a Jane Withers loyalist, then see this last picture 
of hers for 20th Century-Fox. After a story like 
this, no wonder she wants to leave. It's all about 
how Jane, a snooty city girl, gets herself straight 
ened out by the ideals of the 4-H Clubs. (Slay) 

^ YOU'RE IN THE ARMY NOW— Warners: 
Packed with gags is this comedy of two vacuum 
cleaner salesmen, Jimmy Durante and Phil Silvers, 
who find themselves in the Army. Donald MacBride 
is the colonel, and Jane Wyman his daughter, who 
shares the romantic interest with Regis Toomey 



Jli-Y. 1942 



101 



Casts of Current Pictures 



"AFFAIRS OF JIMMY VALENTINE"— Re- 
public: Mike Jason, Dennis O'Kcefe; Bonnie 
Forbes, Ruth Terry; Cleo Arden Gloria Dickson; 
Tom Forbes, Roman Bohnen; Mousey, George E. 
Stone; Cheevers Snow. Spencer Charters; Cyrus 
Bullard, William B. Davidson; Mickey Forbes, 
Bobby Larson; Ed Stanley, Joe Cunningham; Chief 
Dan Kady, Roscoe Atcs. 

"CORPSE VANISHES, THE"— Monogram: 
Doctor Lorenz, Bela Lugosi; Patricia Hunter, Luana 
Walters; Doctor Foster, Tristram Coffin; Countess, 
Elizabeth Russell; Mrs. Fayah, Minerva Urecal; 
Mike. George Eldridge; An<icl, Frank Moran; 
Keenan. Kenneth Harlan; Sandy, Vince Barnett; 
Beyyy, Gviv-n Kenyon; Phyllis, Gladys Faye; 
Altce, Joan Barclay; Toby, Angelo Rossi. 

"I MARRIED AN ANGEL"— MG-M : Anna 
and Brii/iiitta, Jeanette MacDonald; Count Palaffi, 
Nelson Eddy; Peter. Edward Everett Horton; 
Peggy, Binnie Barnes; "Whiskers," Reginald 
Owen; Baron Szigethy, Douglass Dutnbrille; Ma- 
rika, Mona Maris; Sufi. Jams Carter; Iren, Inez 
Cooper; Zinski, Leonid Kinskey; Polly, Anne Jef- 
freys; Dolly, Marion Rosamond. 

"I WAS FRAMED"— Warners: Ken Marshall, 
Michael .■\rnes; Ruth Marshall. Julie Bishop; Bob 
Leeds, Regis Toomey; Penny Marshall, Patty Hale; 
Clubby Blake, John Harmon; Dr. Phillip Black, 
Aldrich Bowker; Gordon Locke, Roland Drew; 
Cal Beamish, Oscar O'Shea; Ben Belden, Wade 
Boteler; Stuart Gaines. Howard Hickman; Paul 
Brenner, Norman Willis; D. L. Wallace. Hobart 
Bosworth ; Police Chief Taylcrr, Guy Usher; Kit 
Carson, Sam McDaniel. 

"IN THIS OUR LIFE"— Warners: Stanley 
Timberlake, Bette Davis; Roy Timberlake, Olivia 
de Havilland; Craig Fleming. George Brent; Peter 
Kingsmill. Dennis Morgan; William Fitzroy, 
Charles Coburn; Asa Timberlake, Frank Craven; 
Lavinia Timberlake, Billie Burke: Mincrim Clay, 
Hattie McDaniel; Betty Wilmoth, Lee Patrick; 
Charlotte Fitzroy, Mary Servoss; Parry Clay, 
Ernest Anderson; Jim Purdy. William B. David- 
son; Dr. Buchanan, Edward Fielding; Inspector, 
John Hamilton; Forrest Ranger, William Forest. 

"JL'KE GIRL" — Warners: Lola Mears, Ann 
Sheridan; .Stcx'c Talbot. Ronald Reagan; Danny 
Frazier, Richard Whorf; Nick Garcos. George 
Tobias; Yippee, Alan Hale; Henry Madden, Gene 
Lockhart; Skceter, Betty Brewer; Cully. Howard 
da Silva; "Muckeye" John, Donald MacBride; 
Mister Just, Willard Robertson; Violet Murphy, 
Faye Emerson; Jo-Mo, Willie Best; [ke Harper, 
Fuzzy Knight; Keeno, Spencer Charters; Paley. 
William B. Davidson; Truck Driver, Frank Wil- 
cox; Watchman, William Haade. 

"MAN WHO WOULDN'T DIE. THE"— 20th 
Century- Fox: Michael Shayne, Lloyd Nolan; 
Catherine Wolff, Marjorie \Veaver; Anne Wolff, 
Helene Reynolds: Doctur Haggard, Henry Wil- 
coxon; Roger Blake, Richard Derr; Dudley Wolff, 
Paul Harvey; Phillips. Billy Bevan; Chief Meek, 



Olin Howland; Alfred Dunning, Robert Emmett 
Keane; Zorah Bey. LeRoy Mason; Coroner Larsen, 
Jeff Corey; Caretaker, Francis Ford. 

"MISSISSIPPI GAMBLER" — Universal : 
Johnny Forbes, Kent Taylor; Beth Cornell, Frances 
Langford; fiancij Carvel, John Litel; Gladys La 
Verne, Claire Dodd; Milton Davis, Shemp Howard; 
Chet Mathews, Douglas Fowlcy; Brandon, Wade 
Boteler; Inspector Dexter, Eddie Dunn; Jud Hig- 
gins, Aldrich Bowker; Sheriff Calkins, Harry 
Mayden. 

".MOKEY"— M-G-M: Herbert Delano, Dan 
Dailey, Jr.; Anthea Delano, Donna Reed; Mokey 
Delano, Bobby Blake; Booker 7. Currtby, Cordefl 
Hickman; Brother Cumby. William "Buckwheat" 
Thomas; Cindy Molishus, Etta McDaniel; Begonia 
Cumby, Marcella Morcland; Pat Esel, George 
Lloyd; Mr. PfniuHoton Matt Moore; Aunt Deedy, 
Cleo Desmond; Mr. Graham, Cliff Clark; Mrs. 
Graham, Mary Field; Brickley Autry, Bobby 
Stebbins; Uncle Ben, Sam McDaniel. 

"MOONTIDE"— 20th Century-Fox: Bobo, Jean 
Gabin; Anna, Ida Lupino; Tiny. Thomas Mitchell; 
Nutsy, Claude Rains; Dr. Brothers, Jerome Cowan; 
Woman on Boat, Helene Reynolds; Reverend 
Price, Ralph Byrd; Bartender, William Halligan; 
Takeo, Sen Yung; Hir'ota. Chester Gan; Mildred. 
Robin Raymond; Pop Kellv, Arthur Aylesworth; 
Hotel Clerk Arthur Hohl : Mac, John Kelly; 
Policeman, Ralph Dunn; Mr. Simpson, TuUy 
Marshall; First Waiter, Tom Dugan. 

"MURDER IN THE BIG HOUSE"— Warners: 
Gladys Wayne, Faye Emerson; Bert Bell, Van 
Johnson; Scoop Conner, George Meeker; Randall, 
Frank Wilcox; Dapper Dan Malloy, Michael Ames; 
Mile-Away Gordon, Roland Drew; Mrs. Gordon, 
Ruth Ford: Jim Ainslce, Joseph Crehan; Warden 
John Bevins, William Gould; Bill Burgen, Douglas 
Wood; Prison Doctor, John Maxwell; Chief Elec- 
trician. Pat McVeigh; Guard. Dick Rich; Keeper, 
Fred Kelsey; Mike. Bill Phillips; Ramstead, Jack 
Mower; Ritter, Creighton Hale; Chaplain, Henry 
Hall. 

"MY GAL SAL"— 20th Century-Fox: Sally 
Elliott, Rita Hayworth; Paul Dresser, Victor 
Mature; Fred Haviland, John Sutton; Mae Collins, 
Carole Landis; Pat Howley. James Gleason; Wiley, 
Phil Silvers; Co/oHe/ Truckee, Walter Catlett; 
Countess Rossini, Mona Maris; McGuiness, Frank 
Orth; Mr. Dreiser, Stanley Andrews; Mrs. Dreiser, 
Margaret Moffat: Ida. Libby Taylor; John L. Sul- 
livan, John Kelly; De Rochemont, Curt Bois; 
Dancing Partner, Hermes Pan; Monsieur Garnier, 
Gregory Gaye; Corbin. Andrew Tombes; Henri, 
Albert Conti; Tailor, Charles Amt. 

"MYSTERY OF MARIE ROGET. THE"— 
Universal: Dupin. Patric Knowles; Marie, Maria 
Montez; Mme. Roget. Maria Ouspenskaya; Beau- 
vais, John Litel; Marcel, Edward Norris; Gobelin, 
Lloyd Corrigan; Camille, Nell O'Day; Magistrate, 
Frank Reicher; Mons. De Luc, Clyde Fillmore; 
Gardener, Paul Burns; Madame De Luc, Norma 



Drury; Detective John Maxwell; Detective, Paul 
Bryar; Curator, Charles Middleton; Detective, Bill 
Ruhl; Naval Officer, Reed Hadley. 

"RINGS ON HER FINGERS •—20th Century- 
Fox: John Wheeler, Henry Fonda; Susan Milter 
(Linda Worthmgton), Gene Tierney; Warren, 
Laird Cregar; Ted Fenwick, John Shepperd; 
Colonel, Henry Stephenson; Mrs. Maybelle Worth- 
ington. Spring Byington; Mrs. Fenwick, Marjorie 
Gate.son; Fenwick, Sr., George Lessey; Kellogg, 
Frank Orth; Charles, Clive Morgan; Peggy, Iris 
Adrian; Captain Beasley, Thurston Hall; Mrs. 
Beasley, Clara Blandick; Captain Hurley, Charles 
Wilson; Paul, Edgar Morton; Chick, George Lloyd; 
Mrs. Clancy, Sarah Edwards; .\ltss Calianan, 
Gwendolyn Logan; Miss Alderney, Evelyn Mul- 
hall; Landlady, Kathryn Sheldon. 

"SABOTEUR"— Universal: Pat, Priscilla Lane; 
Barry Kane, Robert Cummings; Fry, Norman Lloyd; 
Tobin, Otto Kruger; Mr. Miller, Vaugban Glaser; 
Truck Driver, Murray Alper; Mrs. .Mason, Doro- 
thy Peterson: Mrs. Sutton, Alma Kruger. 

"SCATTERGOOD RIDES HIGH" — RKO- 
Radio: Scattergood Baines, Guv Kibljee: Mr. Van 
Pelt, Jed Prouty; Helen Van Pelt, Dorothy Moore; 
Dan Knox, Charles Lind; Phillip Dane, Kenneth 
Howell; Mrs. Van Pelt, Regina Wallace; Mrs. 
Dane, Frances Carson; Cromwell, Arthur Ayles- 
worth; Hipp, Paul White; Toby, Phillip Hurlic; 
Martin Knox, Walter S. Baldwin, Jr.; Trainer, 
Lee Phelps. 

"SING FOR YOUR SUPPER'— Columbia; 
Evelyn Palmar. Jinx Falkenburg; Larry Ha\s. 
Charles Buddy Rogers; "The Mad Russian." Bert 
Gordon; Barbara Stevens, Eve Arden; Wing Boley, 
Don Beddoe; Kay .l/arti'n, Bernadene Hayes; .Uyryn 
T. Hayworth, Henry Kolker; William, Benny 
Baker; Bonzo, Dewey Robinson. • 

"SPOILERS, THE"— Universal: Cherry Ma- 
lotte, Marlene Dietrich; Alexander McNamara, 
Randolph Scott; Roy Glennister, John Wayne; 
Helen Chester, Margaret Lindsay; Judge Stillman. 
Samuel S. Hinds; Dextry, Harry Carey; Bronco 
Kid, Richard Barthelmess; Wheat en. W'illiani 
Farnum; Idabelle, Marietta Canty; Robert Service, 
Himself. 

"SUICIDE SQUADRON"— Republic: Stefan 
Radctzky, Anton Walbrook; Carol Peters, Sally 
Gray; .Mike Carroll, Derrick De Marney ; Specialist, 
Cecil Parker; Bill Peters, Percy Parsons; De Guise, 
Kenneth Kent; Resident Physician, J. H. Roberts; 
Shorty, Guy Middleton; British Commander, John 
Laurie; Polish Bomber Commander, Frederick \'alk. 

"TAKE A LETTER, DARLING"— Paramount: 
A. M. MacGregor. Rosalind Russell: Tom Verney, 
Fred MacMurray; Jonathan Caiduvll. Macdonald 
Carey; Ethel Caldwell. Constance Moore; G. B. At- 
water, Robert Benchley: Fud Newton, Charles 
Arnt; Uncle George. Cecil Kellaway; Aunt Minnie. 
Kathleen Howard; Aunt Judy, Margaret Seddon; 
Moses, Doole? W'ilson; Sam. Georre H. Rted: 
Sally. Margaret Hayes; Mickey Dowling, Sonny 
Boy Williams; Secretary, John Holland. 

"TORTILLA FLAT"— M-G-M: Pilon. Spencer 
Tracy; Dolores "Szceets" Ramirez, Hedy Lamarr; 
Danny, John Garfield; The Pirate. Frank Morgan; 
Pablo. Akim Tamiroff; Tito Ralph. Sheldon Leon 
ard; Jose .Maria Corcoran, John Oualen; Paul D. 
Cummings. Donald Meek; Mrs. Torretii, Connie 
Gilchrist; Pcrtagee Joe. Allen Jenkins: Father Ra- 
mon. Henry O'Neill; Mrs. Marcllis. Mercedes 
Ruffino; Senora Teresina, Nina Campana; .Mr. 
Brown. Arthur Space; Ccsca, Betty Wells; T, r. 
rclJi, Harry Burns. 

"TRUE TO THE ARMY"— Paramount : Z\: ... 
Hawkins. Judy Canova: Private Stephen Chand.cr. 
Allan Jones; Vicky Marlcncr. Ann ililler; Private 
J. Wethersby Fothergill. "Pinky." Jerry Colonna. 

"TWIN BEDS "— Small-U. A.: Mike Abbott. 
George Brent; Julie Abbott, Joan Bennett; .Xicolai 
Chcrupin. Mischa Auer; Lydia, Una Merkel; 
Sonya. Glenda Farrell; Larky. Ernest Truex; 
Norah. Margaret Hamilton; Butler, Charles Cole 
man; Manager. Charles Arnt. 

"WHISPERING GHOSTS"— 20th Century 
Fox: £. H. Van Buren. .Milton Berle: Elizr.'- - 
Woods. Brenda Joyce: David Courtland. 1 
Shelton: Xorbcrt (Long Jack). John Carr.i.i ■it- 
Euclid White. Willie Best: Gilpin. Edmund M.ic 
Donald; Inspector .\'orris. Arthur Hohl: Jonathan 
Flack, Grady Sutton: Doctor Bascomb. Milton Par 
sons: Mac Wolf. Abner Bibberman: Meg. Rem 
Riano; Gruber, Charles Halton; Conroy, Harr> 
Hayden. 

"WIFE TAKES A FLYER. THE "—Columbia 
Anita Wovcrman, Joan Bennett; Christopher Rcy 
nolds. Franchot Tone; .Major Zcllt'ritz. .Mlyr 
Joslyn: Countess Oldenburg, Cecil Cunningham; 
Keith. Roger Clark: Thomas H'o^'ernun. Lloyi 
Corrigan; Mullcr. Lyle Latell; Mrs. Wczcrman 
Georgia Caine: .Maria Ifoverman. Barbara Brown; 
.'a»i. Erskine Sanford; .-idolph Birtjelbocr, Cheste- 
Clute: Hcndrik U cKCrman. Hans Conried; Zanten 
Romaine Callender: Chief Justice. Aubrey Mather 
Guslav. William Edmunds: Mrs. Brandt. Curtis 
Railing; .Miss I'pdike. Nora Cecil; Capt. Sciimui- 
nick. Kurt Katcn; The Twins. Margaret Seddon; 
Kale MacKenna: Major Wilson. Gordon Richards. 




A decorated Bob Hope decorates Photoplay-Movie Mirror. The 
Hope's seen with his medals — and Claudette Colbert — at the 
rehearsal of Hollywood's big Victory Caravan (see page 8) 



102 



PHOTOPLAY C07Tlbl7Icd tt'ith MOVTE MIRROH, 




YOU CAN MAKE your meals spark- 
ling — inviting — by adding Signet 
California Fruits, packed in glass. They 
make a hit because they're tops in quality, 
flavor and just plain goodness. 

For your protection each jar is certified 
by the U. S. Dept. of Agriculture to be 
Grade A Fancy (highest quality). Your 
grocer has Signet Fruits in glass. Buy a 
jar today! 






CHERRY TARTS 



steal every heart 







6 to 8 tender pastry tart shells 

I jar Signet Cherries (Bing or Royal Anne) 

I pkg. cherry flavored gelatine 

Drain juloe from jar of Signet Cherries. Aild 
water to mal<i? 2 cups. Heat to bollinK. Keriii)\e 
from heal. Add gelatine; sllr until dissolviil 
Chill until jelly begins to thicken. Fill the pa 
try shells with well drained eherrle.s. Over il 
cherries, pour the thickened Jelly. Chill un 
jelly is tlrrn. Top with whipped cream, if desii r 
Serves « to 8. 



JELLIED PEARS 

cool and satis jyiag . . . 

I jar Signet Bartlett Pears 

I pkg. orange or strawberry flavored gelatine 

3 or 4 vanilla wafers 

Drain juice from jar of Signet Bartlett Pear: 
Add water to make 2 cups liquid Heat to boil 
ing. Remove from heat; add gelatine. Dls.scl\- 
I'our layer of jelly into shallow baking pan i.r 
Individual molds. Chill slightly. Place pears in 
jelly, hollow centers up. Chill until firm. Fill 
hollows of pears with vanilla wafers, crumbli l 
Chill remaining gelatine until thickened. P"ur 
into mold (carefully). Chili until set. Garni li 
with mint or other greens fur individual tnol U. 
Cut portions from large mold and serve on lei- 
tuce or with whipped cream. Serves B. 



FROZEN CHEESE AND FRUIT SALAD 

jor a very special occasion 

I jar Signet Fruit Salad 

I pkg. cream cheese (3 oz.) 
\U cup mayonnaise 

I tablespoon lemon Juice 
Vz cup evaporated milk, whipped 
(or whipping cream, if preferred) 

I tablespoon gelatine (unflavored) 

Drain juice from Signet Fruit Salad. Soflm 
gelatine in H cup of fruit juice. Heat gently 
over low flame until gelatine is dissolved. Cool.- 
Add cheese, mayonnaise, lemon juice. Mi\. Cliill 
until mixture begins to thicken. Whip evaporated 
milk or whipping cream until quite stiff and a ! ! 
to mixture. Add 1 cup of fruit from Signet Fnni 
Salad. Turn into ring mold and chill until flrn 
Turn mold onto serving platter. Garnish wi ll 
greens. Pill center with the remaining fruii. 
Serves 7 to 8. 




IN GLASS 



Products Corp., Ltd. 
>se, California 
152 

{ send me your new Signet Victory Recipe 

!?/. 




Pioneer packers of California's finest fruits in glass 
UNITED STATES PRODUCTS CORP., LTD. • SAN JOSE, CALIFORNIA 



DEANNE FUREAU, member of tlie Motor Transport Corps of "The American iVomen's I'oluntary Services," a nation-tiuie organizuti(,.i 
doing a grand job on thr linmr front. Patriotic American groups deliver millions of better-tasting Clii \ii rfii-lds to men in the Scriicv. 




with the one cigarette that's 

MILDER^ COOLER, BETTER-TASTING 



In war time, more than ever, a satisfying smoke is a comfort 
and a pleasure. It means a lot to men in the Service and to men and women 
everywhere. Because of its Right Combination of the world s hest cigarette 
tohaccos Chesterfield leads all others in giving smokers more ])leasure. It is 
definitely Milder, far Cooler -Smoking and lot:^ Bettcr-Tosting. Whatever you 
are doing for Uncle Sam, Chesterfields will lielj* to make your joh more 
pleasant. They never fail to SATISFY. 



Ifs Chesterfield 





V" 



{Tgar^tte^ 



vC(»l4 MVtOS lOftACtO CO 



I 



)uriTOPlAY 



i 



OB 0NVT3.A310 t ^ 



LARGEST 
CIRCULATION 
OF ANY 
SCREEN 
MAGAZINE 



UNITED WE STAND" 





M GREAT MAGAZINES FOR THE PRICE OF ONE 



low CLARK GABLE IS CONQUERING LONELINESS 




Afeep tAe Blitz from /our Bab/ ! 

Poor little China baby, scared of war so close and dreadful. What's to prevent that 
hap])ening here, in your town, to YOUR baby? 

Men can't prevent it — even l)ig tougli soldiers — unless the)' have tanks, planes, ships, 
guns . . . more of them, bigger ones, better ones, than any in the hands of the enemy. 

And the supplies and machines for successful war cost money. Will you help? 



How to buy a share in VICTORY . . . 



Where's the money coming from? 

Yoc KK going to chip II 111, out of the money 
you arc getting today. Instead ot spending it 
all, you're going to lend some of it to Uncle 
Sam. He'll put it to work for America. He 
will give you a written promise to pay it back 
in 10 years, with interest (2.9% a year). If 
that promise isn't good, nothing's good. But 
because this is America, it IS good. 

How con you chip in? 

By buying War Savings Bonds. You can buy 
one today for $18.75. It is worth .$2.5.00 



when Uncle Sam pays you back m 10 years. 

INSTALLMENT payments? 

\'cs! II you can'l sp.uc $18. /."j today, buy War 
Savings Stamps for 10* or 25< or 50i. Ask 
for a Stamp book, save a bookful of Stamps, 
then exchange them for a War Savings Bond. 

What IS a BOND? 

A piei e o( legal paper, official promise from 
Uncle Sam that he'll pay you back your money 
plus interest. The Bond will be regisu ied in 
your name. Keep it safelv put away. 



Can you CASH a Bond? 

Yes, ari\ tune 6H da\s alter vou buy it, if vou 
get in a jam and need money, you ran cash a 
Bond (at Post Office or b:inkV 

WHERE can you buy War Savings Bonds 
and Stamps? 

.At your nearest Post Office. .At a bank. .At 
many stores all over the country. 

WHEN? 

Om enemies have been getting re.idy for the 
past 7 or 8 years. .Are you going to wait till 
thev get nearer our kids? 



^a/ ^ar Sa^/n^s Stamps anc/ Sonc/s /VO^V£ 



Thi<< (idverlisemenl has been l>re/>arciJ entirely as a ftatritith gift to the Governmenl. The art work. cof>y. eomposition and [>laling. as uril as the sfkur in this 
magazine, have been donated hv all concerned as part oj their effort towards helping win the War 



Sm^le^TYam Girl, Smile... 

a radiant smile turns heads, wins hearts ! 



Let your smile open doors to new 
happiness! Help keep it bright and 
sparkling with ipana and Massage. 

HEADS UP, plain girl, and smile! 
Beauty isn't the only talisman to 
success. You can take the spotlight— you 
can win phone calls and dates— romance 
can be yours if your smile is right! 

So smile, plain girl, smile! Not a timid 
smile, self-conscious and shy— but a big 
heart-warming smile that brightens your 
face like sunshine. 

If you want a winning smile like that 
—sparkling teeth you're proud to show- 



remember this important fact: your gums 
should retain their healthy firmness. 

"Pink Tooth Brush"— 
a Warning Signal 

So if there's ever the slightest tinge of 
"pink" on your tooth brush, see your den- 
tist right away! 

He may simply tell you that your gums 
have become tender and spongy, robbed 
of natural exercise, by our modern, 
creamy foods. And if, like thousands of 
other modern dentists, he suggests the 
helpful stimulation of Ipana Tooth Paste 



and massage— be guided by his advice! 

For Ipana not only cleans and bright- 
ens your teeth but, with massage, is de- 
signed to help the health of your gums. 
Just massage a little Ipana on your gums 
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Start today the modern dental health 
routine of Ipana and massage. 'With 
Ipana Tooth Paste and massage, help 
keep your gums firmer, your teeth 
brighter, your smile more sparkling. 




Product of Bristol- S\yers 



Sfarf today wif/t 
IPANA and MASSAGE 



iUGUST, 1942 



1 




Published In 
this space 
every month 



The greatest 
star of the 
screen ■ 



The theatre is now the junction of the 
Crossroads to Pleasure and Duty. 

★ ★ ★ ★ 

For, with bonds and stamps on sale in 
all lobbies, you can buy your two tick- 
ets—one to Joy, one to Victory'. 

★ ★ ★ ★ 

The word "crossroads" throws us into 
a paragraph or two about Jack Conway. 
"Crossroads" is this sure-fire director's 
latest film. 



It 

stars 
William 
Powell 




and 
Hedy 
Lamarr 
no less. 



Meanwhile 
back to 
Jack 
Conway 



Possessing the charm of a music-box 
and the gallantry of a Walter Raleigh, 
our hero Conway has worked side by 
side with this leonine columnist for 
many years. 

★ ★ ★ ★ 

He has been an M-G-M standby, hav- 
ing directed "Honky Tonk", "Boom 
Town", "A Yank at Oxford", "Viva 
Villa" and a whole card-index of hits. 

★ ★ ★ ★ 
"Crossroads" is his latest. And his most 
different. But it is the same in one sense. 
It is a hit. ^ * * 

William Powell gives a dramatic per- 
formance that provides a complete 
change of pace from his equally brilliant 
comedy-ness. It is something to see. 

★ ★ ★ ★ 

And Hedy Lamarr is something to see. 
too. We don't know about you, but 
Hedy gets us. And if she doesn't get 
you, there are a lot more like us than 
like you. * * * 

"Crossroads" is ably abetted by Claire 
Trevor, Basil Rathbone and Margaret 
Wycherly. John Kafka and Howard 
Emmett Rogers wrote the original 
story; Guy Trosper, the screen play. 
Edwin Knopf produced. 

★ ★ ★ ★ 
An incident to the 
drama is a song by 
Howard Dietz and 
Arthur Schwartz, en- 
titled "Till You Re- 
turn". It's hum but 
not drum. 




AUGUST 1942 



VOL. 21, NO. 3 




ERNEST V. HEYN 

Editorial Director 



n no. m cx) 

FRED R. SAMMIS 

Executive Editor 
MARIAN H. QUINN, Assistant Editor 



HELEN GILMORE 

Editor 



HIGHLIGHTS OF THIS ISSUE 
Secret Romance Beth Emerson 26 

Hollywood's most exciting hidden love story: Greer Garson and Richard Ney 

Twenty Questions I Dare Hollywood to Answer Hedda Hopper 28 

This famous columnist's own answers will burn Hollywood up! 

What About You? Bette Davis 30 

\\ you know people like these, this star wonts to hear from you 

They Named the Baby Junior Rosemary West 32 

Exclusive stork scoop! An interview with the daughter of Alice Faye and Phil Harris 

How Clark Gable Is Conquering Loneliness Ruth Waterbury 34 

Little Miss Dynamite Roberta Ormiston 36 

A bombastic resume of Veronica Lake's amazing twenty-three years 

What Hollywood Thinks of Gary Cooper William F, French 39 

They All Kissed the Bride Fiction version by Marti Secrest 41 

An advance glimpse at Joan Crawford's new hit picture 

Want to Play Gin Rummy? 43 

A simple, easy way to leorn how to play the game that's swept the country 

How to Make Yourself Important Ronald Reagan 44 

(As told to Gladys Hall) 
Tales of a Tail Coat 



48 



An amusing preview of Twentieth Century-Fox's amazing "Tales Of Manhattan' 



g preview 

Highroad to Hollywood Dixie Willson 50 

You must get to know Julie Burns; she might be you 

What I Don't Like about Jeanette Says Nelson Eddy to Morion Rhea 54 
What I Don't Like about Nelson 

Soys Jeanette MacDonald to Marian Rhea 55 

Nelson and Jeanette split their differences; end up raving mod — about each other! 

Hollywood's Secret Heortbreoker Adele Whitely Fletcher 56 

The startling details of his romances were kept secret — until now 

The Truth about Stars' Backgrounds "Fearless" 65 



GLAMOUR 

Joan Crawford 40 

Portraits: 



Color Portraits of 

These Popular Stars: 

Gene Tierney 33 

Clark Gable 35 Mary Martin 47 

Gary Cooper 38 John Garfield 53 

FASHIONS, BEAUTY NOTES AND DEPARTMENTS 

Close Ups and Long Shots — Brief Reviews 22 

Ruth Waterbury 4 Lady In the Pink . 59 

Inside Stuff — Col York 6 You Can Look As Smart As a 

The Shadow Stage 16 Star — Evelyn Kaye 62 

Speak for Yourse If 20 Casts of Current Pictures . 102 

COVER: The American Flag, Naturol Color Photograph by Paul Hesse 
EDMUND DAVENPORT, Art Director 



PliOTOI'LAV 



lilKK) 
Slri' 



Nev 

Hanlun. Advertising Man.neer. Chicago of. — ^ w... - . 

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IMUl. at the 



2 



PHOTOPLAY combitied u-ith movie mirror 



DOES THIS MAN BEAR THE MARK 
OF MURDER? 

WHY IS HE KNOWN AS 
THE MAN WHO 
LIVED TWICE?" 




AUGUST. 1942 



A f HOLLf WOOD 

yiCTORY 




CLOSE UPS 

m LOH SHOTS 



The way Brenda Marshall saw 
husband Bill Holden off to camp 
is something for the books 



The Victory Caravan showed up Miss Colbert 
(rehearsing here with Frank McHugh and 
writer Matt Brooks) for what she really was 




WATERBURY 



To BE or not to be a dependent . . 
that is the Hollywood question . . . 
Consider, for instance, the pain of 
this . . . there is a lad in our town 
and he was wondrous wise ... as he 
began climbing the fame ladder, he 
decided he could go further as a 
bachelor ... so he shrugged off the 
wife of his bosom, together with his 
child . . . and went on alone. . . . 

Everything was dandy ... he had 
a good friend, also an actor, who had 
admired his wife and child ... in fact, 
the friend admired them so much that 
after the divorce finals were staged, he 
"married the wife . . . there were no 
bruised feelings anywhere . . . the 
first husband kept on climbing and the 
second husband went along on an even 
professional keel until that subject of 
the war and dependents was brought 
up. . . . 

Then came the draft and the pay- 
off . . . the first gent has gone to war 
because his board ruled him very lA 
. . . the second hasn't . . . he's 3A 
because of his dependents — the wife 
and child his erstwhile pal dis- 
carded. . . . 

There is also the hob that the Axis 
is raising with the "ex" dependents 
. . . it's that Axis that made Washing- 
ton consider limiting top salaries to a 
skinny old $25,000 a year after Federal 
and State taxes are paid . . . barely 
enough to keep a good Hollywood 
yacht on . . . and what is an actor 
with three or four alimony wives or a 



girl with too many ex-husbands to do 
then, poor things. . . . 

I know one Hollywood gentleman, 
for example, whose taxes on his estate 
alone . . . not his government or state 
income tax, you understand, but 
merely his real estate tax on his simple 
Beverly Hills shack . . . run to a tidy 
$18,000 a year . you know, merely 
twenty-eight rooms and twenty-six 
baths but they call it home. . . well, 
what's a star to do then when he's 
also got relatives by the score. . . . 

The pain of decision enters here, 
too . . . relatives are not something 
like candy that you can give up if you 
only have sufficient will power . . . 
there is, for instance, the sad, sad 
plight of the star who is now living 
dramatically with his fourth wife . . 
it's the wife who is dramatic . . so 
much so, in fact, that when the actor 
married her and was asked if she had 
been a working girl when he wed her, 
and if so, at what, he said, very simply, 
"Love". . . . 

This actor isn't too happy even with 
wife number four but since his ali- 
mony to the three wives preceding 
eats up much more than $25,000 yearly 
— he'll just have to stick, and possibly 
starve. . . . 

I don't mean to infer that this crazy 
village which is my favorite spot on 
earth is all like this in wartime . . . 
there are lots of good, sensible econ- 
omies going around and genuine, 
deeply sincere patriotic sacrifices be- 



ing made . . . but the things I've told 
you above are for the laughs . . . and 
the things I'll tell you now have some 
laughs in them, too, though some of 
them are touching things. . . . 

FOR that, to me, is one of the deep 
delights of Hollywood ... no mat- 
ter how serious the subject, Hollywood 
will always try to take it with amuse- 
ment . . . take it that way since 
actors and actresses are really the best 
sports on earth. . . . 

The day Brenda Marshall suddenly 
got word that Bill Holden was leaving 
his induction center and entraining for 
some distant camp was one of those 
very serious, yet a laugh-with-a- 
tear-in-it things. . . . 

Brenda was working at the studio 
when she suddenly got the word that 
Bill was entraining . . . she rushed 
off the set like a mad thing and hurled 
herself through the heavy traffic that 
clutters all roads between Burbank 
and Los Angeles . . . but these days, 
everyone in Hollywood drives at the 
pace of a half-dead snail and Brenda 
kept getting entangled with drivers 
going in pairs, so that there was no 
passing them, at a sturdy twenty miles 
an hour . . . finally, frantically, she 
made the station, only to discover it 
an absolute sea of men in uniform. . . . 

"There I'd always thought Bill the 
most distinctive-looking man in the 
world," wails Brenda. "There I'd al- 
ways boasted {Continued on page 94) 



4 



PHOTOPLAY combined tcith movie mirroii 



~ says" 

ROSALIND RUSSELL 




V says 
FRED MacMURRAY 




I- 1 



SlU^MMRRAr 




o 



A faramouni Uttur* with 



mmtLi 



mEr-"""BEHCHLEY- '"'""MOORE 



CECIL KELLAWAY • Directed by MITCHELL LEISEN • Screen Play by Claude Binyon 




A MITCHELL 

LEISEN 

PRODUCTION 



AS 



K YOUR THEATRE MANAGER WHEN THIS BIG PARAMOUNT HIT IS COMING 



AUGUST, 1942 






The dog-gone cute picture all Holly- 
wood's talking about: Jack Benny and 
his bewhiskered friend give a simultane- 
ous yawn to beauteous Ann Sheridan 



TIDBIT DEPARTMENT: Young Ray 
MacDonald, one of the best golfers 
in Hollywood (to say nothing of 
his hoofing) is engaged to cute little 
Betty Asher of the M-G-M publicity 
department. . . . 

George Sanders' announcement that 
he built his new house in a poor 
neighborhood in order to save taxes 
brought the whole neighborhood down 
on his head in a lump. Georgie is 
almost afraid to poke his nose out his 
new door these days. . . . 

Bette Davis, who is padded and 
made homely as well as fat for her 
role in "Now Voyageur," makes one 



statement to all visiting soldiers. 
"Please promise to come back and see 
me when I grow better looking in this 
picture. Don't, please, carry about a 
mental picture of me like this." 

Everyone cheerfully agrees to 
return. . . . 

Paramount Studios firmly state that 
if Madeleine Carroll is married to 
Stirling Hayden they know nothing 
of it. There the matter rests as far 
as they're concerned. 

Good-bye, Darling: On a shady 
avenue in Beverly Hills, directly 
across from each other, lived a man, 



an actor named Herbert Marshall, and 
a little girl, his child by a former 
marriage. 

Each evening at a certain hour they 
met, the father and little girl, for a 
quiet stroll together. This hour, cher- 
ished by the little girl, became the 
dearest thing to her heart. 

And then one evening the man had 
to tell his daughter he was moving 
away. A new baby was coming and 
a bigger house was needed; their eve- 
ning walks would necessarily be in- 
terrupted but he would try to resume 
them as soon as he could. 

And so they {Continued on page 8) 



6 



PHOTOPLAY combined with movie mirror 



mmm 



Hi 
As 



m YORK 



y4s hong as there 
are Men hike 
Him there IV 'II 
Always be a Free 
America! 



/or 



4 Stoo 



/or 



(heor's 



/or 



the 



1WARNER BROS'. SUPREME SUCCESS 

..WALTER BRENNAN 
JOAN LESLIE 
!A HOWARD HAWKS PROD'N 

I GEORGE TOBIAS • STANLEY RIDGES 

Original Screen Play by Abem Finkel & Harry Chandlee 
I and Howard Koch & John Huston • Music by Max Sterner 
[produced by JESSE L. LASKY and HAL B. WALLIS 

I 

I 

jgUY BONDS!^ BUY STAMPSl^'AT YOUR THEATRE! 

j AUGUST, 1942 



You can't afford to miss it . . . 
you can afford to see it now! 

FORTHE FIRST TIME AT 

POPULAR PRICES 

Returned by Demand after One Whole Year of Acclaim! 



I 



BIG PICTURE 




COLORFUL - 




The glory of 
America's most 
reckless era 
sweeps power- 
fully across the 
screen! 




ROMANTIC- 



With John 
Wayne and 
Binnie Barnes 
perfectly 
matched in a 
tempestuous 
drama of love 
and conflict! 




EXCITING- 

Thrills pile upon thrills in 
this most action-packed of 



frontier 



sagas ! 




JOHN WAYNE 

BINNIE ALBERT 

BARNES DEKKER 




with 
Helen Parrish 

Patsy Kelly 
Edgai Kennedy 
Dick Purcell 



It's a 

REPUBLIC PICTURE 





Two gals chin; two 
guys listen in: 
Linda Darnell, Ann 
Sothern, Cesar Ro- 
mero, Dick Derr at 
the Ice Capades 

Michele Morgan, 
grinning to make 
a rare picture at 
the same event, 
freezes Bob Tap- 
linger — for fun 



{Continued from page 6) 
kissed each other good-by one eve- 
ning under an elm tree and the little 
girl walked slowly into her house 
and across the street the man slowly 
walked into his. 

Cal's Alphabet News — A: Ann 

Harding, the beautiful, returns to the 
screen in the picture "Watch On The 
Rhine," which is good news. 

B: Bambi, the Uttle deer of Walt 
Disney's beautiful screen poem, is 
Hollywood's biggest rave since Dopey 
the dwarf. 

C: Claudette Colbert, who was the 
hit of the Victory Caravan, commutes 
between California and Florida where 
her husband. Dr. Joel Pressman, is 
stationed. 

D: Donna Reed announces her real 
heart is Jack Nau. the boy she left 
behind, now a flying cadet for Uncle 
Sam. 

E: Errol Flynn back fi'om Johns 
Hopkins Hospital after a physical 
checkup. 

F: Frances Langford sent her 
mother to keep her husband Jon Hall 
from being lonesome while she toured 
the camps with Bob Hope. Jon and 
his mother-in-law hit it oflf like two 
old pals. 

G: George Holmes is the newest 



heartbeat among Hollywood subdebs 
— and debs, we might add. 

H: Harriet Hilliard, who is so good 
as Red Skelton's radio partner, joins 
him in an M-G-M movie. 

I: Irene Dunne whooping it up with 
the cowboys at Las Vegas, Nevada, 
where her dentist husband is backing 
a project for building defense work- 
ers' homes. 

J: Jane Withers' soda fountain bar 
will remain open to service boys while 
Janie is making a personal appearance 
in the East. 

K: Kay Francis announces the 
rumors linking her name with John 
Payne's are ridiculous and. John 
denies them only with his eyes — 
when looking at Sheila Ryan. 

L: Lana Turner, who had her 
M-G-M bosses walking the floor over 
her recent New York jaunt, has been 
placed on a strictly stay-at-home 
regime or else, by her studio. 

M: Mary Martin claims she's hap- 
pier in her new little cottage than sho 
ever was in her swanky Brentwooi: 
home. Mary believes it's back to the 
simple life for everyone from now on. 

N: Norma Shearer's friends are 
wondering at her reported engage- 
ment to her ski teacher, Martin Ar- 
rouge, who is so much younger. 

O: Orson Welles, who set South 

PHOTOPLAY combined with movie mirror 




PITYROSPORllM OVALE, 
the strange "Bottle Bacillus" 
regarded by many authorities 
as a causative agent of infec- 
tious dandruff. 




It may be Infectious Dandruff! 

START TODAY WITH THE TESTED LiSTERINE TREATMENT THAT HAS HELPED SO MANY 



that this grand, simple treatment has 
brought them welcome relief from dan- 
druff's distressing symptoms. 

Start tonight with the easy, delightful 
home treatment — Listerine Antiseptic and 
massage. It has helped so many others, it 
may help you. Buy the large, economy- 
size bottle today and save money. 

*THE TREATMENT 

MEN: Douse full strength Listcnnc on the scalp 
morning and night. 

WOMEN: Part the hair at various places, and 
apply Listerine Antiseptic. 

Always follow with vigorous and persistent 
massage. Listerine is the same antiseptic that has 
been famous for more than 50 years as a gargle. 



DON'T DENY YOURSELF all the 
good things of life. Keep on using the new 
LLSTFRINE TOOTH PASTE 



TELL-TALE flakes, itching scalp and 
inflammation — these "ugly custom- 
ers" may be a warning that you have the 
infectious type of dandruff, the type in 
which germs are active on your scalp! 
[ They may be a danger signal that mil- 
lions of germs are at work on your scalp 
I . . . including Pityrosporum ovale, the 
' strange "bottle bacillus" recognized by 
many foremost authorities as a causative 
j agent of infectious dandruff, 
j Don't delay. Every day you wait, your 
' condition may get worse, and before long 
you may have a stubborn infection. 

Use Medical Treatment* 

Your common sense tells you that for 
a case of infection, in which germs are 
active, it's wise to use an antiseptic which 
quickly attacks large numbers of germs. 
So, for infectious dandruff, use Listerine 



Antiseptic and massage. 

Listerine Antiseptic kills millions of 
Pityrosporum ovale and other germs 
associated with infectious dandtuflf. 

Those ugly, embarrassing flakes and 
scales begin to disappear. Itching and in- 
flammation are relieved. Your scalp feels 
fresher, healthier, your hair looks cleaner. 

76% Improved in Clinical Tests 

And here's impressive scientific evi- 
dence of Listerine's effectiveness in com- 
bating dandruff symptoms: Under the 
exacting, severe conditions of a series of 
clinical tests, 76% of the dandruff sufferers 
who used Listerine Antiseptic and massage 
twice daily showed complete disappear- 
ance of or marked improvement in the 
symptoms, within a month. 

In addition to that, countless men and 
women all over America report joyously 



AUGUST. 1942 



9 



Listening to Mo- 
cambo nnusic — 
Ann Miller and 
Edmond O'Brien. 
Below: Talking in 
Mocombo tune: 
Vic Mature and 
Ca ro I e Land is 




SLACKS at the war plant, slacks at 
home, slacks indoors and out. A 
streamlined age calls for streamlined cos- 
tumes—and a logical part of this stream- 
lining is Tampax, sanitary protection 
worn internally. Being worn in this way, 
it cannot cause any bulk or bulge what- 
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can wear Tampax undetected under a 
modern swim suit— on the beach, under 
a shower or while actually swimming. 

Tampax is quick, dainty and modern. 
Perfected by a doctor. Worn by many 
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tary deodorant. Causes no chafing, no 
odor. Easy disposal. Tampax is made of 
pure surgical cotton, and it comes to you 
in neat applicators, so that your hands 
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Three sizes: Regular, Super, Junior. 
(Super gives about 50% additional ab- 
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counters. Introductory box, 20(t. Bar- 
gain Economy Package lasts 4 months 
average. Don't wait. Buy Tampax now! 
Tampax Incorporated, Palmer, Mass. 



A ccepted for Adve rtising by 
the Journal of the Ameri- 
can Medical Association 





America on its ear during his recent 
movie production, will be back in 
town unengaged and minus his former 
heart, Dolores Del Rio, according to 
his pals. 

P: Paul Lukas returns to Holly- 
wood for his stage role in the movie 
version of "Watch On The Rhine," 
which pleases his many fans. 

Q: Questions as to the status of 
Bob Stack and Errol Flynn draft rat- 
ings are embarrassing the studios into 
a "no publicity" campaign on the boys. 

R: Robert Taylor is using all his 
powers of persuasion to get into the 
Air Corps. 

S: Sonja Henie and husband Dan 
Topping have been having her former 
beau, Ty Power, in to dinner while 
Annabella is away — proving the 
breach between Sonja and Ty has 
finally healed. 

T: Tim Holt, Jack's handsome lad, 
signed with the Air Corps and dis- 
covered his first assignment was to 
make six Western films for morale 
purposes. And after he'd graduated 
into A's, too. 

U: Una Merkel and her Southern 
accent keep the soldiers at the U.S.O. 
centers from down south from being 
too homesick. 



10 



V: Veronica Lake has Hollywood 
placing bets as to whether she'll skip 
her career and leave moviedom flat in 
order to join husband John Detlie, 
who's stationed at Seattle. 

W: WilUam Holden has requested 
his wife and friends to address his 
mail to Private W. F. Beedle Jr. The 
Armj' doesn't know him by his screen 
name. 

X: Marks the spot on which Monty 
Woolley fell when he discovered he'd 
been exposed to mumps. Monty is 
afraid his beard will hide the 
symptoms. 

Y: Yuma, the elopement spot for 
Hollywoodites, has a pastor whose 
cards read "Quiet weddings — free 
dressing rooms and showers." 

Z: Zorina, who's in the running for 
the Maria role in "For Whom The 
Bell Tolls," is causing a bell to toll 
mournfully in a certain Holl>^'ood 
heart. 

Romance Lane: Leif Erickson. who 
is in Reno divorcing Frances Farmer, 
has met and fallen for pretty Margaret 
Hayes, who was Jeffrey Lynn's true 
love before he left for the Army .... 

Freeman Gosden (Amos of the 
radio) and Gail Patrick are seeing 

PHOTOPLAY combined with movie mirror 





Irene Dunne and husband Dr. Grif- 
fin line up to look over the buffet 
line at the Beverly Hills Hotel 

each other in quiet, cozy comers these 
days. . . . 

CharUe Ruggles is all dimples 
(Charlie's are strictly masculine and 
very fetching) since his marriage to 
Marian La Barba, former wife of box- 
ing champion Fidel La Barba. . . . 

Friends were delighted but some- 
what amazed to hear of the marriage 
in London of little Ruth Howard, 
daughter of Leslie Howard, to Captain 
Dale Harris. Ruth seemed only a 
youngster when the Howards left for 
London, but these teen-agers do grow 
up, don't they? .... 

Anne Shirley has become quite the 
sought-after young lady since her di- 
vorce from John Payne. Anne's recent 
and most ardent suitor is Arthur 
Hornblow Jr., divorced husband of 
Myrna Loy. 

Private Affair: Bill Holden finally 
arrived at camp and was assigned his 
bunk. Imagine his mingled surprise 
and chagrin, however, when he be- 
held Brcnda Marshall's picture on the 
wall over the bunk of his neighbor. 

"That's a pretty girl," he said to his 
neighbor. 

"Yeah, my favorite movie star," the 
private said. "I'm going to look her 
up when I get leave. Gee, she's sure 

AUGUST, 1942 




JOAN 



MELVYN 



CRAWFORD ^DOUGUS 



UGL 





.i,. ROLAND YOUNG BILLIE BURKE ALLEN JENKINS 

Screen ploy by P. J. WOLFSON • From o itory by Gino Kous ond Andrew P. Soil 

Directed by ALEXANDER HALL ■ Produced by EDWAID KAUFMAN 

A COtUMB/A PICTURE 



11 



Which Tampon 
Can You Trust? 




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Wot a picture — and 
pardon any lapses! 
Rosalind Russell jit- 
terbugs with a Cana- 
dian Navy sailor 
at the party . . . 



. . . given by Basil and wife 
Ouida Rathbone for the Navy 
at the Beverly Hills Hotel 



beautiful. Wish I could meet her 
sometime." 

"Maybe you can," Bill said, omit- 
ting the fact that particular star was 
his wife. "Maybe someday we'll both 
meet her," Bill said, and added under 
his breath, "soon and again." 

The Unsolved Puzzle: A fan writes 
in to say she agrees Van Hefiin is the 
grandest young actor on the screen 
but — and here's where the puzzle 
comes in — how did his natural kinky 
hair suddenly straighten out into those 
gorgeous waves? 

"Does the studio have some secret 
formula," she demands, "or did love 
do it?" 

Frankly, we've mulled this one over 
ourselves, for Van's hair was most 
kinky last time we saw him. But, 
surely, his falling in love with and 
marrying cute Frances Neal wouldn't 
straighten it out. The studio? Oh, 
they assume that wide-eyed look of 
innocence when asked and pretend 
they don't know what we mean. If we 
ever do discover the secret, we'll let 
you all know. 



Cal's Farewell to Ty: We sat in the 

sunshine together, Tyrone Power and 
Cal, outside the sound stage of "The 
Black Swan." "I love soaking up this 
sunshine." he said, "feel I can't get 
enough of it, somehow, before I go." 

Tyrone leaves as soon as his picture 
is finished for a Navy air job in the 
East. "California right now reminds 
me somehow,'' he said, "of a woman 
that a man has made up his mind to 
leave, yet can't shake off. Its blue 
skies and bright colors are put on to 
please his eye. The sea beating along 
the coast is a begging whisper not to 
go. The beauty of its hills and mild- 
ness of its climate seem purposely 
donned to lure a man to stay. It's 
hard to say no." 

We agreed. It would be hard to 
give up the beauty of his garden, 
especially in suinmer. Annabella will 
live in a New York apartment to be 
near Ty, who expects to be stationed 
near New York. Ty, who is eager to 
be of actual service, is one of the few 
really big-bracket stars to go. Fans 
and friends will miss him. But they'll 
be proud of him, too. 



12 



PHOTOPLAY combined with mo\'ie mirror 



Picture of a Wallflower 
in the Making! 




Men seldom dance twice with the girl who 
forgets that Mum guards charm! 



Ride 'Em Stars: The motorcycle 
brigade grows in Hollywood, with 
male stars renouncing their cars for 
the two-wheeled vehicle. Clark Gable 
drives his motorcycle in from his 
ranch to the studio every day and has 
even joined the motorcycle club out 
in the Valley. 

Dick Powell spends his lunch hour 
' at Paramount polishing up his ma- 
chine. 

j Dick has more paraphernalia, gog- 

j gles, helmets, boots and leather jackets 
than ten motorcyclists. 

Bob Young is another actor who 
travels the twenty-five miles from his 

; ranch to M-G-M Studios on his cycle. 

I George Raft and Mack Grey whizzing 
along Sunset Boulevard as a team is 
a familiar sight these days. But the 
funniest sight of all was Bob Stack 
with his motorcycle piled into a taxi 
after a minor smash-up. 

Yep, the motorcycle craze has hit 
Hollywood with a bang. 

And the girls? Oh, they ride on the 
handle bars or in the sidecars and 

i love it. 

Round-Up of the News: Victor Ma- 
ture has been switched from 3A to lA 
in the draft rating and will march off 
in a few months to camp. Cal hopes 

lit isn't to Fort MacArthur where the 
boys took a poll to determine the one 
lad they'd like to manhandle. You've 
guessed it — Hunk of Man won. . . . 

i Phil Harris and Alice Faye are 
sorry to disappoint the many fans who 




Sonja Henle matches up ring and ear- 
rings, matches up herself as a pretty 
Mocambo date for husband Topping 
kUcusT, 1942 



10VELY Amy and dashing Bob dance 
i charmingly together. But when this 
waltz is over, who will blame him if he 
doesn't ask for an encore? 

Prettiness and grace, a sparkling per- 
sonality, help to make a girl popular. 
But they can't hold a man when under- 
arms need Mum. 

Amy would be horrified if you told 
her her fault. Didn't she bathe just this 
evening? But that refreshing bath only 
took away past perspiration ... it can't 
prevent risk of future underarm odor. 
The more fun, the more exciting an eve- 



ning is . . . the more a girl needs Mum. 

Mum safeguards your charm — keeps 
previous daintiness from fading. Mum 
prevents underarm odor for a whole day 
or evening! Make Mum a daily habit. 
FOR INSTANT SPEED-Only thirty seconds 
to smooth on creamy, fragrant Mum. 
FOR PEACE OF MIND-Mum won't hurt 
fabrics, says the American Institute of 
Laundering. Mum won't irritate sensi- 
tive skin. 

FOR LASTING CHARM — Mum keeps you 
safe from underarm odor, keeps you 
bath-sweet— helps you stay popular! 



SAFEGUARD YOUR CHARM. MAKE MUM A DAILY RULE! 



MUM IS SO SPEEDY ' 
ONE QUICK TOUCH, 
AND I'M SAFE DURING 
THE BUSIEST DAY, 




JACK CAN'T SEE 
ENOUGH OF ME 
THESE DAYS. 
SINCE I 

learned that 
mum guards 

charm' 



MUM 





For Sanitary Napkins 

Gentle, saje M.um is first 
choice with thousands of 
women jor this purpose. Try 
Mum this way, too! 



Mum 



TAKES THE ODOR OUT OF PERSPIRATION 



13 




SKIN-SAFE! 
FABRIC-SAFE! 

NONSPI will PROTECT* your pre- 
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underarm "perspiration rot"- the I 

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NONSPI will not injure your sensi- 
tive underarm skin pores (Nonspi's 
gentle astringent action is safe 
effective). 

NONSPI checks flow of perspira- 
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perspiration odor is gone). 
NONSPI is safe and convenient to 
use (a clean, clear liquid, Nonspi 
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*"Analysis of Nonspi and applied 
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Better Fabrics Testing Bureau inc 

OFFICIAL LABORATORV OF 

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6oy Nonspi today at your 
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NONSPI 



A SKIN-SAFE, FABRIC- 
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ANTI-PERSPIRANT ! 





The dress has one sleeve; umpteen dia- 
mond bracelets make up the other; and 
Lupe Velez wears it at the Mocambo 
with Mexico's Arturo De Cordova 

insisted their new daughter be named 
Phil-lice, a combination of Phil's and 
Alice's name, but the little angel's 
(we quote Papa) golden hair and blue 
eyes decided them. It's Alice Faye 
Harris Junior, no less. . . . (See story 
on page 32.) 

Friends heaved a sigh of rehef when 
the Rita Hayworth-Ed Judson divorce 
came ofif without a breath of the 
much-threatened scandal. One of the 
two, we hear, made quite a settlement, 
but we're not saying who. . . . 

Hedy Lamarr with darkened skin 
that brings out her green eyes and 
flashing teeth for her role in "White 
Cargo" is the most breathlessly lovely 
thing Hollywood has ever seen. And 
with a white silk jersey sarong yet! 

Hello — Good-By: M-G-M has never 
quite forgiven John Shelton, whom 
they dropped from their contract list, 
for returning and carrying off as his 
wife their brightest hope, Kathryn 



Grayson. When John telephones his 
wife at the studio, the conversation 
goes on uninterruptedly for some 
minutes and then suddenly the con- 
nection is cut. Someone whispered to 
Cal the studio beheves too much con- 
versation makes Kathryn a bit 
nervous, which adds to the rumor that 
the little Grayson isn't looking too 
happy these days. 

Sells Bonds and Grows Thin: 

Another record-breaking bond tour 
has just been completed by Dorothy 
Lamour, a wonder girl at the business 
of extracting dollars from pockets for 
Uncle Sam. 

But Paramoimt, w^hile pleased as 
punch with their star saleslady, had 
cause to grow concerned as the tour 
progressed and Dottie grew thinner 
and thinner. Finally, alarmed at her 
rapid loss of weight, the studio con- 
sulted a doctor who rushed the star 
a gain-weight diet. To those who may 




14 



Finger man Lee Bowmar 
takes Mrs. Bowman out tc 
dinner, pulls his act at The 
Players, star hangout 

PHOTOPLAY combined icith movie mirro i 



be suffering from painful thinness we 
give you this get-plump quickly diet. 
Every hour and a half during the day 
eat one crushed banana with cream 
and watch those angles turn to curves, 
i It's working with Dottie, anyway. 

, Read All About It: The night ball 
game was over, crowds were pouring 
out of the Hollywood Stadium and 
iiewsboys were screaming their wares. 
.'Read all about it, lady," a newsie 
yelled. "Famous movie star gets di- 
i/orced. Pictures and everything. It's 
not news, sister." 

The woman bought the paper and 
ivith fingers that shook just a little 
;urned the pages of the paper. 

So it was, with crowds pushing and 
jhoving, Ann Sothern read the story 
jf her divorce that day from Roger 



It's Corn and He Grows It: "Come 
jn over and see my Victory Garden," 
iled Skelton said one recent afternoon 
and with nothing else to do, but 
strongly suspecting Red of kidding 
ibout the garden, we went. 

Is our face red? Out on the slopes 
Dehind the tennis court that Red 
lopes to turn into an open-air theater 
"or soldiers is Red's garden with that 
vegetable dearly beloved by all come- 
lians — corn — growing like mad. What 
s more. Red himself tilled the soil, 
carried the rocks to keep his hillside 
larden from slipping and planted, ac- 
;ording to his little blue book, every- 
;hing in its proper place. We know he 
lid this, for we saw the trousers he 
ATorked in — the worst pair of patched 
-}\aid pants this side of the Ozarks. 
, Red and Edna have given over their 
liearts and lives to entertaining sol- 
diers in camps up and down the coast 
and far inland. The comedian's been 
adopted by a dozen or more outfits 
vhat have painted their own special 
smblems on Red's car. 
■ "Honestly," Edna said, "Red won't 
;ver let us fill the swimming "pool in 
lopes some gun position will occupy 
t and he can give shows to the boys 
dl day long." 

When Red and Edna, aren't at 
lamps, the boys come to them. On a 
•ecent Sunday one soldier of a large 
group surveyed Red's lovely Brent- 
wood home and said, "I can't under- 
stand it. A redheaded Irishman and 
lot a broken window in his home." 

With that Red picked up a rock and 
et fly through the living-room win- 
low. "Gee, I wondered what was 
ffTong with the place myself," Red 
jjrinned. "I feel a lot more at home 
|iow, with a broken window." 
I Cal can tell you he hasn't spent a 
inore enjoyable afternoon in a month 
f^hi blue Sundays. For that perfectly 
patural and simple couple we nomi- 
nate the Skeltons of Hollywood. 
I You can't beat that pair! 

ITCUST, 1942 



Don't just Dream oF Loveliness- 

go on the 
CAMAY MILD-SOAP DIET! 




This lovely bride is Mrs. Junies //. McClure, of Chicago, III., tvho says: "I'm really- 
grateful for the ivay the Camay Mild-Soap Diet has helped my skin look so lovely!" 



Try this exciting beauty treatment- 
it's based on the advice of skin spe- 
cialists—praised by lovely brides! 

Don't waste time idly envying the 
woman whose skin is lovely! With 
a little time— and the right care- you too, 
can garner compliments and envii)ii> 
glances! Now— tonight- 
put your complexion on 
the Camay Mild-Soap Diet ! 

This exciting idea in 
beauty care can arouse the 
sleeping beauty in your 
skin. For, like so many 
women, you may be bliss- 




fully unaware that you are cleansing your 
skin improperly. Or that you are using a 
beauty soap that isn't mild enough. 

Skin specialists advise regular cleans- 
ing with a fine, mild soap. And Camay is 
actually milder than dozens of other pop- 
ular beauty soaps. That's why we say 
"Go on the Camay Mild-Soap Diet!" 

Set aside 30 days in 
which to give it a fair test. 
The very first treatment will 
leave your skin feeling 
fresh and glowing. In the 
days to come, your mirror 
may reveal an enchanting, 
exciting new loveliness. 



GO ON THE MILD-SOAP DIET TONIGHT! 




Work Caniuy s inildrr lalln-r over your skin, pay- 
ing gpecial attention to the nose, the ha^seof 
nostrils and chin. Rinne with warm water and 
follow with thirty seconds of cold splashing-t. 



1 _ 

Thru, while you slrcii, tlic tiri\ imrc opciiini.'< are 
free to function for natural brant y. In the morn- 
ing—one more quick session with this milder 
Camay and your face is ready for make-up. 

15 




REVIEWING MOVIES OF THE MONTH 

A reliable guide to recent pictures. One check nneans good; two checks, outstanding 




A "best of the year" picture: Greer Gar- 
son and Walter Pidgeon in "Mrs. Miniver" 



Grim, with plenty of punch: Veronica Lake 
and Alan Ladd in "This Gun For hHire" 



Mrs. Miniver (M-G-M) 

It's About: T/ie march of events in 
the life of an English family during 
the war. 

BY far the best picture of the month 
and high among the best of the 
year is this charming and appeaUng 
story of an EngUsh family during 
this world war. England will never 
have finer timber than these, their 
Minivers; people who live bravely 
and courageously without any undue 
display of emotion or consciousness 
of heroism. 

Greer Garson lends surpassing 
charm to the role of Mrs. Miniver, 
wife of architect Walter Pidgeon and 
mother of three children. Walter 
Pidgeon is ideal as the husband. 

Teresa Wright, the girl who becomes 
the wife of the older Minivei^ son, is 
heart-stirringly real and lovely and 
Richard Ney as the son is about the 
most important thing that's happened 
to M-G-M since Robert Taylor. Here 
is an actor and a personality. 

Helmut Dantine gives, the best in- 
terpretation of a Nazi we have ever 
seen on the screen. Dame May 
Whitty, Reginald Owen and Henry 
Travers are excellent. 

Your Reviewer Says: Something for 
Hollywood to be proud of. 



The Best Pictures of the Month 

Mrs. Miniver 
This Gun For Hire 
This Above All 



Best Perfornnances 



Greer Garson in "Mrs. Miniver" 



Teresa Wright in "Mrs. Miniver" 



Richard Ney in "Mrs. Miniver" 



Tyrone Power in "This Above All" 



Joan Fontaine in "This Above All" 



Alan Ladd in "This Gun For Hire" 



^ This Gun For Hire (Paramount) 

It's About: A donhle-crossed gunman 
who seeks revenge. 



A FOUR-COLUMN news item is 
Alan Ladd, a newcomer who 
springs into big-time notoriety in the 
role of the killer in this suspenseful 
thrilling, chilling melodrama. 

A chemical company, ruled by a 
crazy old man. is engaged in mys- 
terious shipments. The blackmailer 
who gets wind of the shipments is 
bumped off by a hired killer who 
in turn is double-crossed by the man 
who hired him. Into the net of in- 
trigue comes a night club entertainer 
who — but we're not telling. 

Veronica* Lake, as the lady who 
does magic tricks while she chants a 
sultry tune, has never been better. 
Hers is a sound performance that has 
nothing to do with hair-over-one- 
eye business. 

Laird Cregar. as the fat and sleek 
murder stooge who hires "the gun" 
but can't bear the revolting details of 
the deeds he orders done, is terrific. 
Robert Preston, the police officer, is 
good though sunk in a throw-away 
part. But it's Ladd you'll notice and 
be held by. mark our words. 

Your Reviewer Says: An edge-of-the- 
soat job you miisn't miss. 



FOR COMPLETE CASTS OF CURRENT PICTURES SEE PAGE 102 



16 



PHOTOPLAY combined uith movie mirrof 



Is this a Honeymoon 

a Rest Cure? 



The Shadow Stage 

This Above All 
(20+h Century-Fox) 

It's About: The love story of a con- 
fused soldier and a girl who harmon- 
izes his heart and mind. 

IN a month of outstanding pictures, 
"ThLs Above All" shines brilliantly 
,in its own particular niche and should 
rate high in the hearts of every fan. 

Tyrone Power gives one of his best 
performances as the bewildered Eng- 
lish soldier, veteran of Dunkirk, who 
deserts his regiment because he feels 
England's leaders are stupid and the 
cause clouded with unrighteousness. 
Love clears the mind and heart of 
this boy who comes to realize it's 
everlasting peace and not glory Eng- 
land is fighting for. 

Joan Fontaine proves her Academy 
Award trophy to be no flash-in-the- 
pan award. Her performance as the 
girl of good English family who joins 
the W.A.A.F's and who meets and 
loves Power is imbued with mingled 
power and pathos. Miss Fontaine is 
indeed an important actress. 

Eric Knight, who wrote the book, 
zan have no complaint concerning its 
screen interpretation. Every charac- 
ter, including Thomas Mitchell as 
Tyrone's army pal, Nigel Bruce as the 
innkeeper, Philip Merivale as Joan's 
ohysician father, Gladys Cooper as 
the snobbish aunt, are expertly drawn. 
And somehow audiences feel more 
understandingly toward the English 
and their problems after seeing this 
idling and tremendous story. 



four Reviewer Says: 

pecommend it. 



We heartily 



I ^ Her Cardboard Lover 
] (M-G-M) 

t's About: A bodyguard against love. 

QUITE a little number with love, 
lots and lots of love, oozing from 
ts every pore. With Mr. Robert Tay- 
or and Miss Norma Shearer and Mr. 
jeorge Sanders giving old Cupid's 
py-product a whirl, you can imagine 
low very warm the story grows at 
imes. 

If this be Miss Shearer's movie 
;wan song, as has been intimated, she 
eaves us with a very fine perform- 
jince to remember her by. True, at 
lines Miss Shearer spreads on the 
listrionics a bit thick, but the role is 
lifBcult and why shouldn't a love- 
rustrated woman be a bit hysterical 
it times? Anyway, we liked her and 
hink you will too. 

It's nice to see Bob Taylor in a 
traight romantic role again. Direc- 
or Cukor permits Bob to get a bit 

juCUST. 1942 




HONEYMOON HEARTBREAK? 'I'(m> had. i 
l)ride . . . but your love is doomed, unless \<>ii 
learn this feminine secret . . . there s a iienllc 
fragrant soaj) that gives you "d()uhie-|)rolc< l ion ' 
against hody odor! Therefore you no l<)ng<T ha\c 
lo risk your daintiness with an unpleasanl smell- 
ing soaj>I Before tonight, discover ''douhlc-pro- 
li-cl ion in % c iiir ball) . . . 




IT'S THE TWO-WAY insurance of 
daintiness Cashmere Bouquet Soaji 
gives you! First. Cashmere Bouquet 
makes a rich, cleansing lather that's 
gifted with the ability to bathe 
away body odor almost instantly! 
And at the same time it actually 
adorns your skin with that heavenly 
perfume you noticed — a protective 
fragrance men love! 




THANKS FOR THE TIP.' > 
HERE'S ONE FOR EVERY GIRL ' 
SMELL THE SOAP BEFORE 
you Buy... YOU'LL PREFER 
CA6HMeKE BOUQUET/ 



SMART GIRL! Now you've learned 
low ( .ashmere B<)u<|uet"s "doidile- 
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ingering scent of costlier perfume! 
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THE LOVELIER WAY TO AVOID OFFENDING 



17 



RITA HAYWORTH^ 

Columbia Pictures Star J 




Hollywood stars can't stop to 
fix their hair whenever they'd ^ffK^'tfJi 



like to. That's why so many of 



them depend on Grip - Tuth. '^<^2^ 
Grip-Tuth looks like a comb — but isn't. 
This non-metallic hair retainer slides into 
your hair in a jiffy — and stays there until 
you take it out ! And that's especially im- 
portant if you're working in the war 
effort, where you must keep your hair up, 
out of the way! Try one to hold your 
wave. Try one to keep your hair high on 
the sides. Try one to anchor bows or 
flowers just where you want them ! Two on 
a card (or one extra length) only 25c. If 
notion counter or beauty shop can't sup- 
ply you, send 25c for card. State hair color. 

CRIP-TUTH : Diadem, Inc., Leominster, Mass., Dept 96 

Nu-Hesive Sureical Dress/ngi. by our affilialeJ com- 
pany, are one of our conlribulions lo National Delenie 



sappy at times, but then he's a pretty 
lovesick boy, remember. Bob you 
know, is in love with Norma who hires 
him to protect her against George 
Sanders whom she really loves but 
who is bad medicine for any lady. 

Sanders (what an actor!) hasn't as 
much to do as he should have but 
manages to heel up the place when 
allowed to. Frank McHugh also comes 
in for a nice bit or two. 

Your Reviewer Says: Champagne 
cocktails with lots of bubbles. 

Grand Cen+ral Murder (M-G-M) 

It's About: The unraveling of a mys- 
tery murder. 

MANY big-name stars have begun 
their motion-picture careers as 
screen detectives, and Van Hefiin, 
destined for stellar rating, is no excep- 
tion. To his role of the amateur de- 
tective who unravels the mystery of 
the murdered show girl, Heflin brings 
distinction and class. 

Pat Dane, the ruthless little climber, 
who meets death in the Grand Central 
Station, is beautiful and strangely 
convincing. Virginia Grey as Hefiin's 
wife, and Cecelia Parker, who lost her 
beau to the scheming Pat, are very 
good. 

As to "who dunnit," have fun guess- 
ing — we're not telling. 

Your Reviewer Says: Guess and guess 
again. 

My Favorite Spy 
(Harold Lloyd-RKO-Radio) 

It's About: An orchestra leader who 
becomes an F.B.I, agent. 

KAY KYSER steps farther away 
from his band in this amusing 
little cupcake to display his talents 
solo fashion. As a frustrated bride- 
groom who is yanked into the Army 
on his wedding day to be released 
as a secret member of the F.B.I. , Kay 
is quite a lad. His bride, Ellen Drew, 
is unaware of his F.B.I, affiliation and 
believes the worst when her husband 
is jailed with beautiful Jane Wyman, 
another secret agent. The climax is 
quite a thing, with Kay and Ellen 
roughing it up with Nazi agents. Oh, 
sure, the band is heard and seen once 
or twice. 



Your Reviewer Says: 

amusing. 



Inoffensively 



Broadway (Universal) 

It's About: A movie star who looks 
back to other days. 

GANGSTERS, night-club enter- 
tainers, chorus girls and sugar 
daddies whirl around in a gay melee 
in this remake of the stage play 



"Broadway," told in flash-back fash- 
ion. George Raft plays himself, a 
motion -picture star, who returns to 
New York, steps into a newly con- 
structed bowling alley and relates his 
experiences as a night-club hoofer to 
the night watchman. As George teUs 
his story such characters as Janet 
Blair, his sweetheart, S. Z. Sakall, the 
proprietor of the club, his girl friend, 
Marjorie Rambeau, and gangster 
Broderick Crawford pass in review. 
In the chorus line-up are such cuties 
as Anne Gwynne, Marie Wilson, Iris 
Adrian, Elaine Morey and Dorothy 
Moore. 

George's hoofing is the highlight of 
the story. The music of yesterday is 
nostalgic and appealing. 

Your Reviewer Soys: Rehash with 
poached egg. 

Syncopation (RKO-Radio) 

It's About: A lad who organizes his 
own band. 

THERE'S about as much sense to this 
little ditty as there is to a cross- 
question and silly answer contest. 
It wanders about aimlessly, getting 
nowhere, attempting to convey the 
uselessness of a musician's fighting 
against his inner urge to express his 
individuality in music. 

Jackie Cooper is the boy who mar- 
ries Bonita Granville, a belle from 
New Orleans, joins a symphony or- 
chestra and leaves it to organize his 
own band. 

The one and only redeeming feature 
is the aggregation of popular band 
leaders for a fade-out finale. 

Adolphe Menjou looks uncomfort- 
able in a bit role. 

Your Reviewer Says: A great big dis- 
cord. 

Once Upon A Thursday (M-G-M) 

It's About: A housemaid who deter- 
mines to tell all in book form. 

REALLY, it's not bad. For one thing, 
the acting of Marsha Hunt as the 
maid secretly married to employer 
Richard Carlson lifts it above the 
ordinary. The story amused us as well. 

Carlson, returning from a trip tc 
Eskimo land, becomes engaged tc 
Frances Drake, believing maid Marsha 
has long since divorced him. When hi 
and the assembled guests at the en- 
gagement dinner party learn Marsh, 
is about to publish a book of — shal. 
we say memories — blue blood turn> 
pale pink from fright. 

Marjorie Main as the cook. Virgi... 
Weidler as Carlson's younger sister, 
and Allyn Joslyn are most amusing 

Your Reviewer Says: Gay as a ging- 
ham lunch cloth. 

(Contiiiiicd 071 page 95) 



18 



PHOTOPLAY combined with movie mirsc; 



7 '4 



lUENDIY 



IT'S FROM AMERICA'S MOST LOVED STAGE HITI 

<^ IT'S A GRAND COMEDY! 

1/ IT'S A HEART EXCITING LOVE STORY! 

^ IT'S A STORY MILLIONS ARE LIVING TODAY! 

^"^IT'S FROM THE PRODUCER OF 
YOUR FAVORITE FILMS! 




EDWARD SMALL 



presents 



FRIENDLY ENEMIES 

Mes WINNINGER ^ Me RUGGLES • James CRAIG • Nancy KELLY 

•itk Ilka GRUNING - Otto KRUGER • Directed by Allan Dwan • Released thru United Artists 

From tiM CinncOr- Drama Sta(> Success by Samuel SMpman and Aaron HoMman • Adaptation (or tin scfctn by Adelaide Heilbron 



WATCH FOR AN IMPORTANT ANNOUNCEMENT ABOUT THIS PICTURE FROM A LEADING THEATRE IN YOUR ClTYl 




.ucusi, 1942 



19 



I wish you'd ask me 

^^""^ Tampons! 




As a nurse, I know tampons make 
sense. The freedom and comfort of in- 
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there are tampons and tampons! Do 
you wonder which is the best — the 
right tampon for you? Let me give you 
some answers . . . 



Is protection 




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Wliat about comfort? 



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20 





1 



$10.00 PRIZE 
Open Letter to Clark Gable 



D 



EAR CLARK: 

First of all, I want to extend 
to you my deepest sympathy. 
I can imagine, to some small degree, 
how much Carole meant to you; how 
you miss her cheery companionship, 
her contagious sportsmanship. We'll 
all miss her — so please feel that we 
are eager to share your sorrow. 

But I want to ask you to think of 
us — the millions of your friends and 
hers — and beg you not to make that 
loss twofold. We can't bring Carole 
back, but we can try to persuade you 
not to leave us. Won't you please 
stand by? The papers said the other 
day that you wouldn't make any more 
pictures. Please don't do that to us. 

I think Carole herself would be the 
first to urge you to be a good soldier 
and not desert us. We wait for your 
pictures; we see your broad grin and 
you make us forget our troubles with 
that wicked twinkle in your eye. 

You can do more for morale by 
giving us laughs than by enlisting, as 
it is also rumored you may do — and 
I'm not discounting the fact that your 
services would be very valuable to 
Uncle Sam. But what I'm trying to 
say is, we need you here. Maybe, 
Clark, in helping us to forget, you'd 
be helping yourself, a little, too. 

Mrs. Marjorie Truitt, 

Snowden, N. C. 

■Sec Gable's final decision on p. 34. 




FOR YOURSELF 



v., 

^^^^^ 



Joan Davis of Republic's "Yo- 
kel Boy" kicks up her heels. 
She's just heard that twenty- 
four-gun salute that pays 
off to a California mem- 
ber of the khaki brotherhood 
for the letter on page 81 



$5.00 PRIZE 
They Made Up At the Movies 

LAST night, my husband and I went 
to see Katharine Hepburn and 
Spencer Tracy in "Woman Of The 
Year." We were in a solemn mood 
because that afternoon we had dis- 
cussed a solution for a problem in 
our marriage. We felt that life was 
indeed complicated for us. Before 
many minutes the antics of Katharine 
and Spencer convulsed us with laugh- 
ter. Each hilarious scene reminded 
us that all married couples are con- 
fronted with difficult situations. By 
the time that Katharine added the 
yeast cake to the waffles and played 
"catch" with the toast, our shoulders 
felt lighter — our problem shrank to 
insignificance. 

Please give us more pictures of this 
type. They keep up the morale of the 
audiences during this troublesome 

Mrs. Perry Whiting, 
Ponca City, Okla. 

$1.00 PRIZE 
George Sanders Started This! 



SO Mr. Sanders likes women in their 
place! And who is Mr. Sanders to 
say what woman's place is! Ask the 
men at the battle fronts whom they 
prefer — a woman who can do notliing 
but sit whining at home or a woman 
who can hold down a job at Lock 
heed? Do you suppose, Mr. Sanders, 
the Western frontier would have evclj 

PHOTOPL.w combined u-ith movie mirroe 



been pushed back if woman had not 
been willing to take her share of the 
hardships? No, Mr. Sanders, it wasn't 
your type of feminine women who 
helped put America on the map, nor 
will it be your type of women who will 
hglp win this war! 

The writer is employed as pay-roll 
clerk for a large garment manufac- 
turer engaged in making clothes just 
now for the U. S. Army. About ninety- 
five percent of the employees are wo- 
men — feminine women, Mr. Sanders 
— who wear lipstick and bright finger- 
nail polish. Only they, unlike your 
type of feminine women, have a job 
to do and they know how to do it. 

Wake up, Mr. Sanders. This is A.D., 
not B.C. 

Claudia Case Thames, 
Brookhaven, Miss. 

$1.00 PRIZE 
And G. S. Started This, Too! 

I HAVE just finished reading the 
article about George Sanders. I 
' enjoyed it because he is my favorite 
actor. In this article, it says he never 
has visitors, vanishes after a day's 
work and it ends by saying he is a 
strange individual. 

To me, this doesn't seem strange, 
because I do the same things myself. 
I believe George Sanders is just trying 
to lead a simple, wholesome life. 

To me, he is the most brilliant actor 
ii today — as John Barrymore once said. 
I hope George Sanders' career lasts 
for a long time to come. 

Marie Sothman, 
Grand Island, Neb. 

$1.00 PRIZE 
Entertainment Plus! 

THE movies are my chief source of 
entertainment. Primarily, that is 
my reason for going to see them, but 
I have still another: I like to learn 
ilfrom them. 

{Continued on page 81) 

PHOTOPLAY-MOVIE MIRROR awards the 
following prizes each month ^or the best let- 
ters submitted for publication: $10 frst prize; 
$5 second prize; $1 each for every other letter 
published in full. Just write in what you think 
about stars or movies, in less than 200 words. 
jLetters ore judged on the basis of clarity 
and originality, and contributors are warned 
,that plagiarism from previously published 
moterial will be prosecuted to the full extent 
of the law. Please do not submit letters of 
which copies hove been made to send to 
tother publications; this is poor sportsmanship 
and has resulted, in the past, in embarrass- 
|ing situations for all concerned, as each letter 
S published in this department in good faith. 
Owing to the great volume of contributions 
eceived by this department, we regret that 
f is impossible for us to return unaccepted 
■noterial. Accordingly we strongly recom- 
■nend that all contributors retain a copy of 
any manuscript submitted to us. Address your 
jO: etter to "Speak for Yourself," PHOTOPLAY- 
NOVIE MIRROR, 205 East 42nd St., New 
fork City, N. Y. 

lUcusT, 1942 



Evelyn Keyes 

in ^^Flight Captain^' 

A COLUMBIA PICTURE 




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21 



Al^lAWIIS TAILCIUAVIl 

FOR BODY BEAUTY 

clothes you in a beguiling film of 
fragrance . , . keeps you daintily 
fresh for hours. Use Mavis lavishly, 
every day. Buy Mavis today ... at 
all cosmetic counters. 




Dr. Dafoes 
New Baby Book 

Yours . . . Practically as a Gift 

Here It Is mothers — the book you've always wanted — 
and It's yours practically as a gift. In this new book. 
How to Raise Your Baby. Dr. Allan Roy Daloe gives 
you the very help .you've alway.s wanted. This world- 
famous doctor an.swers the problems that face you 
daily. He discusses breast feeding — bottle leedlng — first 
solid foods — toilet traininK — how fast your child should 
grow — new facts about sunshine and vitamins — sum- 
mer complaints — sen.sible clothing- diarrhea — jaundice 
— ipfection — tiervous children- skinny children. % 
While they last you can get your copy of this big, new 
book entitled How to Jtaisc Your Babt/ for only 25c — 
and we pay the postage. Mail order 'TODAY 

BARTHOLOMEW HOUSE. Inc., Dept. f^'^ 
205 East 42nd Street, New York, New Yorh 




Deep look for "Deep In The Heart Of 
Texas"; Robert Stock and Anne Gwynne 



eR|[F REVIEWS 

Vindicates picture was rated "good" when reviewed 
vvindicates picture was rated "outstanding" when reviewed 



V/ ADVENTURES OF MARTIN EDEN, THE 
— Columbia: An unpleasant tale with Glenn Ford 
as the seaman and Ian MacDonald the brutal ship's 
captain. Ford tries to become famous as an author 
so he can publish the ship's diary to expose the 
brutality of conditions aboard ship and thus free 
his friend Stuart Erwin. (May) 

AFFAIRS OF JIMMY VALENTINE—'RepuhUc: 
Dennis O'Keefe is a brash young radio publicity 
man who dreams up a gag of locating a Jimmy Val- 
entine to revive a drooping radio serial. He finds 
his Valentine all right, but it leads to murder. Gloria 
Dickson and Ruth Terry are very good. (July) 

ALMOST MARRIED— Vniversa]: When Jane 
Frazee's baggage goes to Robert Paige's apartment 
and his to hers, it leads to romantic complications 
for them both. It's kind of cute. (June) 

ALWAYS IN MY HE^RT— Warners: Kay Fran- 
cis decides to marry wealthy Sidney Blackmer to 
improve the opportunities of her children, Gloria 
Warren and Frankie Thomas. After her husband, 
Walter Huston, is paroled from prison, he goes 
incognito to his family's small town and straight- 
ens out the children. It's warm and friendly and 
Gloria Warren has a beautiful voice. (June) 

BASHFUL BACHELOR— RKO-Radio: Lum and 
Abner come to the screen in a movie that's in keep- 
ing with their radio roles. Chester Lauck (Liim) is 
sweet on Zasu Pitts and almost exterminates his pal, 
Norris Goff (Abner), trying to impress Zasu with 
his heroism. (June) 

BLACK DRAGONS— Monogram: A ridiculous pot- 
pourri of nonsense, this, all about a Nazi-inspired 
plastic surgeon, Bela Lugosi, who makes over si.x 
Japanese to look like American industrialists so they 
can steal our plans like mad. It's silly. (June) 

BULLET SCARS — Warners: Regis Toomey is a 
doctor called to treat a wounded gangster and he 
conceives a clever idea for being rescued from mob 
leader Howard daSylva who is detaining him be- 
cause he knows too much. You never saw such 
shooting. You never saw such a picture, either. 
(June) 

I/' BUTCH MINDS THE B^BK— Universal : 
Typical Damon Runyon, amusing and completely in 
character, is this comedy of a paroled convict. 
Broderick Crawford, who saves young widow \'ir- 
ginia Bruce from suicide and falls in love with her 
baby. Brod even gets Virginia a job in a night 
club run by crook Porter Hall and minds tlie baby 
while she's at work. With Dick Foran. (June) 

i/- CAPTAINS OF THE CLOUDS— Warners: 
This timely picture is about the training of Hush 
("ountry recruits to become R.C.A.F. flyers, ami 
has many exciting moments. The storv has Jimmy 
Cagney as an undisciplined sky-riding )iijacker who 



earns the enmity of pilots Dennis Morgan. Reginald 
Gardiner and Alan Hale for his unethical conduct, 
but gets regenerated. With Brenda Marshall. (May) 

CORPSE VANISHES, THE— Monogram : Brides 
mysteriously disappear all over the place until girl 
reporter Luana Walters sets out to investigate. She 
finally traces the missing brides to the lair of Bela, 
Lugosi, a screwy scientist, where perfectly dreadful, 
doings have been done. (July) 



SHADOW STAGE 

Pictures Reviewed in This Issue 



Btondle's Blessed Event 95 

Broadway 18 

Close Call For Ellery Queen, A 95 

Escape From Hong Kong 96 

Falcon Takes Over, The 95 

Grand Central Murder 18 

Henry And Diiiy 96 

Her Cardboard Lover 17 

Mad Martlndoles, The 95 

Meet The Stewarts 96 

Mexican Spitfire Sees A Ghost 96 

Miss Annie Rooney 97 

Mrs. Miniver 16 

My Favorite Spy IS 

Once Upon A Thursday IS 

Powder Town 97 

Remember Pearl Harbor 96 

Ships With Wings "5 

Sunday Punch 9t 

Syncopation If 

Tarian's New York Adventure 97 

Ten Gentlemen From West Point 96 

This Above All 17 

This Gun For Hire ... It | 



22 



PHOTOPLAY combined icith movie mirror 



✓ COURTSHIP OF ANDY HAKDV. THE— 
Vl-G-M: Another winner, packed with genial en- 
ertainment is this latest in the series, in which 
Jlickey Rooney must take out poor little rich girl 
}onna Reed, though his heart still belongs to Ann 
tutherford. (May) 

DANGEROUSLY THEY LIVE — Warners: 
,Jancy Coleman is the British girl spy who lands in 
New York hospital where John Garfield is in- 
erning and with his aid brings about the downfall 
if a Nazi spy ring. Raymond Massey is the Nazi 
lead and Moroni Olsen his chief henchman. (May) 

'INGERS AT THE WLWDOW—MG Sl: Basil 
tathbone is the ruthless killer who hypnotizes psy- 
jiopathics into killing his victims. Laraine Day is 
bout to be his latest victim when along comes Lew 
Vyres. Rather interesting. (June) 

^LK BY A//CH7— Paramount: Richard Carlson 
{as to escape the law because he's accused of mur- 
er, so he forces artist Nancy Kelly to accompany 
im so she won't sketch his picture and reveal hira 
) the police. Th^ result is harrowing. (June) 

RISCO -LIli — Universal: Irene Hervey goes to 
'OtV for a gambling' club in order to help her ol' 
^mbling daddy. Minor Watson, but this alienates 
ie family of her fiance, Kent Taylor. (May) 

ENTLEMAN AFTER DARK, .4— Small U.A. : 
entleman crook Brian Donlevy surrenders to Pres- 
in Foster on condition that Foster adopt his baby, 
'hen the baby's mother, Miriam Hopkins, and her 
irtner in crime, Philip Reed, attempt to ruin the 
rl's happiness. Donlevy breaks out of prison to 
CP them. It doesn't matter much. (June) 

HOST OF FRANKENSTEIN. THE— Vmver- 
J: It seems the monster is still alive, this time 
ayed by Lon Chanev, so Sir Cedric Hardwicke 
;cides to give hiirv,a nice, kind new brain, hut 
'ter a double-cross. h_f "^ets the sly brain of Bela 
UROsi, so things are lust'as bad^as before. Ralph 
ellamy and Evelyn Ankers are romantic. (June) 

■\/'GOLD RUSH. Chaplin: A must for 

•eryone is this re-issue of Chaplin's never-to be- 
;rgottcn comedy. The narration takes the place of 
e subtitles; the adventures of the little tramp in 
e gold-mad Klondike are as appealing as ever, 
uue) 

GREAT MAN'S LADY. THE— Paramount: 
Srbara Stanwyck does a wonderful job as the old 
ay who reveals to a young biographer the story 
' her part in the life history of a great senator, 
,el McCrea. McCrea is very good as the weak- 
ig molded into a great man bv a greater woman, 
d Brian Donlevy is the strong man in her life, 
lune) _ , 

' / MARRIED' AN'^ANGEL—U-G-M: Much 
low the standard of Nelson Eddy and Jeanette 
acDonald is this bit of trivia taken from the stage 
ny. Nelson is a Budapest playboy who falls in 
ye with an unsophisticated little clerk in his bank 
le night 'he dreams she's an angel. He awakes 
;find not an angel -but the girl he loves. (July) 

IN THLS OUR LIFE— Warners: This unpleas- 
t picture about a selfish woman isn't Bette 
kvis's best picture by a long shot. Olivia de 
villand plays Bette's good sister, Dennis Mor- 
1 IS the man Bette drives to suicide, and George 
■ent the man fortunate enough to escape her 
july) 

■| 

^ INVADERS. THS— Columbia: An impres- 
'e masterpiece, this story of seven Nazis stranded 
- Canadian soil. The performances of Leslie 
award as a vacationing author, Laurence Olivier 
ijFrench -Canadian trapper, and Raymond Massey' 
.Canadian soldier, are outstanding. But equally 
Je are Niall MacGinnis, Eric Portman and Glvnis 
.hns. (May) 



iH^AS FRAMED— Warners: Michael Ames 
imed by political crooks, but he breaks jail and 
r«s with his wife. Julie Bishop, to another town 
lere he becomes a newspaper editor. But he's 
ftckmailed before he finally discovers he's been 
^red of the former charge. (July) 

c^fKE GIRL— Warners: Appalled by the conditions 
J »armer.s and workers .under racketeering Gene 
ickhart Ronald Reagan sides with farmer George 
jibias although hts friend Richard Whorf throws 
■ his lot with Lockhart. Ann Sheridan, traveling 
jke girl falls m love with Reagan, and the two of 
im hnd themselves accused of murder. It's all 
j«ty dull. (July) 

V JUNGLE BOOK— Korda: A pageantry of 
|Mnd and color and beauty, with Sabu as the boy 
j»d by wolves who is forced by the tiger to take 
Mtte in a small village. There he finds his real 
pwer, Rosemary deCamp. but when the greedy 
en of the village learn he guards the secret of 
Men treasures they force him back to the iunale 
ifs delightfully fantastic entertainment. (June) 

[kid GLOVE KILLER— M-Q-M: Intelligent 
ij-iting, acting and directing combine to make this 
ipicture one to shout about. Van Heflin as the 
ientilic crime detective, Lee Rowman his friend 
1 a killer who places a bomb in the reform 
»yor s car. and Marsha Hunt as the girl who 
1 (Continued on page 99) 

rcrsi. 1942 




YOU MAY HAVE SEEN US., .performing as drum majorettes. . .at the Chicago 
Bears' football games... or other places. You know we really do look a lot alike. 
When we made the tooth powder test. Mother suggested that Shirley be the one 
to use Pepsodent. I chose another leading brand." 

"IT SURE TURNED OUT to be a 

swell suggestion... for Shirley ! While 
her teeth had never been quite as 
bright as mine, after she used 
Pepsodent her teeth became easily 
twice as bright! Mother was so im- 
pressed she immediately switched 
to Pepsodent and could hardly wait 




For f/ie safety of your smile . . . 

use Pepsodent twice a day . . . 
see your dentist twice a year ! 



23 



I 

i 



/ 



Swing ' (;6 ' „ , 
ON THE 



bousing successor to "TO THE SHORES OF 
TRIPOLI!" Action! Thrills! With a climax 
that will make you stand up and cheer! 




MAUREEN ■Xa JOHN 

MONTGOMERY -OUARA-SUPN 



GEORGE 



LAIRD CREG7CR • John Shepperd • Victor Francen 

Directed bv HENRY HMH/<\NM • Produced W/LUAM PERLBERG 

W ^ CENTURY FOX, 



'V 



ASK THE MANAGER OF YOUR FAVORITE THEATRE WHEN THIS STI RRI NG.PICTURE IS COMING 



24 



PHOTOPLAY combined with movie mip 



1 



July 4, 194Z 



OR the first time since Photoplay and Movie Mirror 
magazines began publication, a movie star is not being 
featured on the cover. Instead, Paul Hesse's stirring 
color photograph of our flag strikes a militant note. As 
you look at the newsstands of America this month you 
have the sense of one huge Stars and Stripes on display. 
That was the original purpose of the Magazine Publishers 
Association in the suggestion that every magazine on sale 
Independence Day of this year have a flag cover. In a 
field of intense circulation competition and bitter editorial 
rivalry, publishers, one by one. agreed to lay aside all 
personal motive in order to join this visible, outward 
ijdisplay of publishing patriotism. 

The flag on the cover of Photoplay-Movie Mirror 
dramatizes a fact that has not been greatly emphasized — 
he fact of Hollywood's refusal to accept draft deferment 
I >r its actors. Significant proof is the row of small photo- 
graphs displayed on the cover beneath the flag. A few 
months ago. General Hershey, selective service director, 
announced that movies were necessary to maintain 
. morale. 

Therefore, it was said, men working in this essen- 
tial industry should be eligible for possible deferment, 
(t was not an announcement Hollywood either sought 
pr relished. After the ruling had been made, Hollywood 
refused to accept it. Actors continued to be drafted and 
ptars who still had 3- A classifications continued to join 
the armed services. 

Hollywood was right. Your letters have told me so. 
you may recall that recently I asked you to write me 
your honest opinions on this highly important question. 
Letters poured in, each weighing the issue earnestly. 
And the results? Two to one, you voted that Hollywood 
actors should do their share of the fighting 1 

This they are already doing. Twelve well-known 
players are on the cover. But there are others, some of 
whom there was no room to include; others who since 
his cover was designed and engraved have enlisted or 



whose intention of doing so has been announced. There 
are Tony Martin, Victor Mature. Craig Reynolds, Robert 
Preston, MacDonald Carey, Eddie Albert, John Trent, 
Phil Terry, Stirling Hayden, Alan Ladd. Lew Ay res (now 
in the Medical Corps), Jackie Coogan, Dan Dailey Jr., 
Buddy Rogers, Herbert Anderson. John Beal, George 
Brent, Robert Sterling, Richard Barthelmess. 

I do not believe I have included every name here, for 
some are joining without advance notice to studio or 
editor. And soon, as the intensity 'of war ignites this 
country's efforts into a roaring blaze, many more from 
Hollywood's ranks will be in uniform. 

I HOPE this list of names somehow helps to bring home 
to you personally a realization of the proportions of 
the struggle we have ahead. Some may argue that it is 
not the place of a movie magazine to talk about such 
real facts. I don't agree. At a time when every citizen 
must join hands with every other citizen, there can be 
no staking out a small plot and posting a sign which 
reads: No Admittance To Anything Connected With War. 
If, through any words of mine. I can help to end the 
senseless and blind wave of optimism that has seized 
us all, I shall feel that this page has made a contribution. 

I hope you are not one who has allowed wishful think- 
ing to wash over and drown out sober truth. Or have 
you perhaps begun to think that before many more weeks 
or months, the blessing of peace will have touched us? 
Then, unconsciously, you have begun to injure our 
chances of victory. You have helped to spread an 
optimism that is dulling the edge of our war sword. There 
is, with overconfidence, a dangerous letting down, a 
demoralizing slackening of effort. Our enemies are many, 
their resources are treble what they had when we en- 
tered the war. Victory is there to be seen from the top 
of the highest peak. Let us scale those heights first and 
not falsely feast our eyes now on the mirage of an early 
and easy winning. 







kucusT, 1942 




25 





Sometimes a man can look once into a wo- 



man's eyes and find there 



something that will hold him forever. 



Hollywood's most exciting 



hidd en love story — the ro- 



mance of Greer Garson and Richard Ney 



BY BETH imUU 



First meeting: The "Mrs. Miniver" 
crew watched that glance breathlessly 



RICHARD NEY, a Broadway actor 
about to make his Hollywood 
debut, walked onto the set of 
"Mrs. Miniver" to be presented to the 
star of the production, Greer Garson. 

"Mrs. Miniver, may I present your 
son?" asked Director William Wyler, 
who was doing the honors. 

Greer, laughing with correct polite- 
ness, looked up, prepared to see the 
usual young actor. Instead, she ob- 
served a tall, very slender fellow with 
a sensitive, studious face. He was 
dressed, not in the flashing tweeds of 
the West, but with quiet effectiveness. 

Richard Ney looked down, undoubt- 
edly expecting the Greer Garson 
American movies have portrayed, an 
almost poisonously understanding, tol- 
erant young matron. What he saw was 
a pale, humorous face framed in an 
incredible nimbus of red-gold hair. 
He saw the Garson figure, as it is, 
which is something quite different 
from the screen Garson figure which 
has always been padded, for reasons 
of characterization, all out of its highly 



seductive proportions. His startled 
blue eyes flashed to her slender ankles, 
even as Greer's startled green eyes 
took heed of the width of his shoul- 
ders; and then their delighted glances 
met again, met and locked and held. 

At that moment in armament plants, 
in steam laundries, in bread factories 
and such busy places, clock hands 
kept right on sedately moving around 
clock faces. But on the set of "Mrs. 
Miniver" time froze, while two pairs 
of glamorous eyes melted, while two 
gay hearts started thumping and while 
all the Metro-ites within watching dis- 
tances got ice to the feet. 

The Metro heads held three distinct 
thoughts; the Metro fear beat as one. 
The Metro-ites knew the bitter truth 
of Hollywood, the cruel fact that mar- 
riage hurts the popularity of any stai-, 
male more than female, but even fe- 
male enough to make a depressing 
difference at the box office. There sat 
Greer Garson, one of the capital in- 
vestments of a success-mad industry 
and there stood Richard Ney, who 



might or might not be a comer. And 
somewhere across the lot, undoubt- 
edly busy as six beavers, there worked 
Benny Thau, an intelligent, quiet gen- 
tlemanly executive, who had been 
hopelessly in love with Greer Garson 
for four years. 

The Metro-ites fear was set on fire 
by the visible flash in those two hand- 
some pans as they gazed on one an- 
other. Those watchers knew the fatal 
flame when they saw it. Just suppose 
it were real? Suppose it worked itself 
up to love? Suppose, heaven forbid, 
that it ended in matrimony? What, oh 
what would happen then? 

That is what all Hollywood is won- 
dering today, some five months after 
their first romantic meeting. "Mrs. 
Miniver" is finished and previewed 
and promises not only to be both an 
artistic and box-office smash but to 
make Greer Garson one of the top 
stars of all Hollywood and Richard 
Nej' very much among those present 
on the glory road. 

And Richard Ney and Greer Garson 



26 



PHOTOPLAY combined with movie mirror 





First date: Sreer and Dick went 
dancing together, asked photo- 
graphers not to snap them, be- 
came so interested in each other 
they forgot the clicking cameras 




are dating almost nightly. Richard 
Ney tells everyone he encounters how 
completely, utterly and devastatingly 
he is in love. Greer says nothing, but 
her happiness is as luminous as a 
Isearchlight sweeping a blackout sky. 

It is the very glow of that happiness 
that lets you know how lonely Greer 
has been until now, how much she has 
wanted this laughter and this gaiety 
and this youth that have been brought 
to her. 

You know now, of course, that 
Greer Garson was married when she 

AUGUST, 1942 



came to this country in 1938. Holly- 
wood didn't know it then. Hollywood, 
in fact, knew little of Miss Garson and 
cared less. That she had been a terrific 
hit on the London stage, that she had 
had one great and tragic love in her 
life, that she had married another man 
but had stayed a wife to him for less 
than a month, and that she was brainy, 
sensitive and madly romantic never 
entered Hollywood's mind. Until her 
tremendous hit in "Good-bye, Mr. 
Chips" they ignored her and let her, 
for eleven months, sit home, night 



after night, in a tiny house on the 
quietest of Beverly Hills streets, 
heartsick, defeated and consumed with 
the longing for laughter and for love. 

Benny Thau, a gentleman and a 
student, had met her on her first day 
at the studio. He started calling on her 
almost at once. That is, he called 
whenever his work didn't get in the 
way. But his work got in the way nine 
nights out of ten. It does with any 
Hollywood executive. If you are mar- 
ried to a movie executive it is possible 
to stand that (Continued on page 94) 

27 



2^ Q0t\mh 3V(\}i£j 




on tV^e 
a angie 



Hopper 



nd- 



iV>e pu 



Lup 



\no- 



This is going to burn Holly- 
wood up — because Hedda's 
hep to the answers herself! 



THERE'S a silly old game called 
"Twenty Questions" I used to play 
so long ago that I barely remem- 
ber how it goes. But now everybody's 
playing it, so what's to hinder Hopper 
from having a go at it? Just to prove 
I'm no piker I'm going to pick the 
toughest opponent I know to play my 
game with — Hollywood. 

It's a past master at riddles, this 
town where even the birds use 
double-talk. But at that you'll get 
more real information from the birds 
than you will from the poker-face 
bigwigs who sit behind the mahogany 
and play dumb. They're dumb — like 
the Quiz Kids! 

Well, fools rush in, they say. So 
here are twenty questions I dare 
Hollywood to answer! I'll even talk 
out of turn and give a few answers 
myself, which shows what a long neck 
our granny has. 

1. What's the angle on the Ida 
Lupino-Louis Hayward situation? 

Well, it's very different from the 
usual one. Here are two tempera- 
ments as unlike as day and night. 
Ida came over here, got off on the 
wrong foot, as far as her career was 




Normo Sheerer cO« • 




28 



• Hopper'^ 
PHOTOPLAY conibhjed U'ifh movie mirror 





BY Mm 

mm 




bncerned, was much younger than 
nybody had any idea of, was given 
he siUiest, most asinine ingenues ever 
een on the screen, and all the time 
he knew she was an actress. Her 
rouble was — how to prove it? Well, 
Tove it she did, by walking out of a 
ear's contract at $1750 a week. Just 
bout this time she fell in love with 
lOuis Hayward, who had his training 
1 the Noel Coward school. Every- 
ling must be charm — and more 
harm. I saw him first in one of Noel's 
isser plays called "Point Verlaine," 
> which he stole the show from Lynn 
'ontanne and Alfred Lunt, which is 
,o mean stealing. And when Director 
Iddie Goulding was looking for a 
oung man to play a certain role, I 
aggested Louis Hayward: it was on 
lat suggestion that they brought him 
ut, tested him and he got his start in 
ictures. He's serious, wrapped up 
|i his career; and now that Ida has 
jiade a great success as a dramatic, 
motional actress, I think she'd like 
jQ the romance and adulation that go 
ith it. And I have a hunch she's not 
siting it. But whether they separate 
id divorce is (Continued on page 80) 



He 
do 



JCUST. 1942 



29 



These four people have fascinated a great star. You may know 
others like them. If you do, Bette Davis wonts to hear about 
it. You'll want to tell her when you see the end of this story 




PHOTOPLAY combined u-ith movie mirror 



'M GOING to tell you a short story I heard the other 
day. It is not sentimental or romantic and the plot 
isn't very complicated — but its main character is a 
terrific person, to my way of thinking, and there is drama 
enough in what she has done. Her name is Mary. She is 
a medium-sized girl with a nice, earnest face, brown hair 
and strong, capable fingers. She lives in half of a small 
duplex on the outskirts of Hollywood, where rents are 
cheap, because her small salary must buy room enough 
for her mother and her aunt, besides herself. 

Since she got out of high school three years ago, Mary 
has worked in a smart beauty parlor (called a Salon de 
Beaute by the woman who runs it), giving shampoos and 
finger waves. Good ones. Until recently, when war and 
taxes made the clients closer about money, her tips were 
enough to buy her an occasional new dress in the base- 
ment of a fairly good department store. She couldn't 
complain, as she sometimes said to the young insurance 
salesman named Henry who took her dancing Wednesday 
nights and to the movies on Saturday. She was doing 
all right. But the first time she had to rip up two old 
dresses to make a dirndl and blouse that Henry would 
think were new, she got a little peeved. It wasn't just 
the tips — Henry had been called up by the Army and was 
leaving in two weeks, for heaven knew where. There 
went their plans: The marriage next year, the separate 
apartment for the two of them, the baby they wanted 
later on. 

It was just about this time, furthermore, that Mary 
discovered she couldn't turn on the radio or open a paper 
without being told she ought to dig down for war bonds. 
That was just fine, thought Mary. That and the price of 
fresh eggs and Henry's draft notice, she could do without. 

She got up early the day Henry left and stood on the 
sidewalk with him until his bus came. He'd sold his car 
the week before, at a loss. "But I still have seven hundred 
dollars," he told her. "When I come back . . ." 

"What bank's it in?" she asked, for something to say. 

"I bought bonds." 

She was suddenly angry. "You're not doing enough, I 





Mary smiled suddenly to 
herself, the brush suspend- 
ed in mid-air. Wouldn't 
Henry be surprised! 

suppose, giving up everything, going out to fight — " 

"I don't get you," he said. "It's a good investment. And 
what's safer than the Government?" 

She walked on up to the shop later, with her lipstick 
smeared from his kiss, and that day she didn't talk much 
but worked steadily, and that evening she sat down with 
a book, but didn't read it. Finally she tossed it aside, 
rummaged through a closet until she found a clean square 
of cardboard, hunted up a red pencil and began to print. 

Her mother watched her curiously. "What are you 
doing?" 

Mary showed her the card. It said: Scalp Treatment 
and Finger Wave — Evenings. "It's for the front window," 
Mary explained. 

Her mother looked doubtful. "But would it be fair to 
your employer to start up in competition?" 

"There isn't any competition. Mom. The women in our 
neighborhood never go down to the fancy beauty shops 
in town." 

"But you haven't got that kind of an operator's license!" 
her mother objected. 

"This isn't professional work. It's just practice and 
the shop will be glad that I'll be getting extra experience. 
Whatever they pay me goes for war bonds. They can 
give me war stamps if they want to." 

"But after you've worked all day!" her mother cried 
indignantly. "Giving up your evenings — you can't tell 
me the Government . . ." 

"It'll be something to do." Mary went over and stuck 
the card in the window. "Henry will be surprised," she 
added, smiling suddenly. 

THAT'S the story. Mary really lives in that duplex in 
Hollywood, and I've seen the sign. Her customers are 
mostly women who work during the day and are grateful 
for a chance to have their hair done after hours. At this 
writing, she's got almost a hundred dollars worth of 
bonds in her safe box, to add to Henry's when he gets 
home. I don't know, frankly, what she thought about 
the day he left or what changed (Continued on page 68) 



AUGUST, 1942 



31 




Stork Scoop! Behind a 
plate-glass window Photoplay- 
Movie Mirror interviews Alice 
Faye Jr. when she is just 
three days old. P.S.: Mother 
and father doing well 

BY mmm west 



Family-tree pose: Parents 
Alice Faye and Phil Harris 





personal history of 
Alice Faye Jr. is 
very short and 
sweet though she 
can write in her 
future book that she 
gave her first interview when she was 
three days old. 

If it was a new experience for her, 
it was a new experience for us, too. 
There is a first time for everything, 
but this was certainly the first time a 
star had ever been interviewed 
through a plate-glass window. Fur- 
thermore, her manners were nothing 
to brag about, since she slept pro- 
foundly through the historic occasion, 
not giving out with so much as one 
bubble or one good yell, just lay there, 
a tiny hunk with a fluff of down atop 
her head, a small screwed-up face and 
the most ridiculous dot of a nose you 
ever saw. 

Maybe she was bored, bored as be- 
fits a baby who came into this world 
with 350 pairs of hand-knit booties 
waiting for her to step into them, with 
handmade blankets piled high to the 
ceiling, with so many handmade 
dresses that her mother gave up 
counting them, with five fuUy 
equipped baby baths and with a bas- 
sinette with everything attached save 
a garage and a new car. 

Talking to her mother wasn't much 

32 



help either, though it was easy to find 
her. You merely followed your nose 
down the flower-bedecked hospital 
corridors to her room, while the nurses 
whispered how the flowers kept on 
arriving, how Alice looked at them all 
and treasured the cards but ordered 
the flowers given away again, first to 
all the new mothers and then to the 
wards. The flowers were so numerous 
that soon the whole hospital was 
loaded with them. They were in every 
ward and room and in the nurses' 
quarters and on all the meal trays, 
but still they kept on coming until 
they overflowed into the neighbor- 
hood homes. 

It was easy to see that Alice Faye, 
the First, was stiU too tired to talk, 
though her big eyes shone like Santa 
Claus Lane on December twenty- 
fourth. She looked as only a com- 
pletely happy girl can look after she 
has first known motherhood; and 
there are no woi'ds for that. 

She whispered, in that warm, ex- 
citing voice of hers, "Go see Phil. 
He'll tell you everything," and then 
she smiled, and it tore the heart out 
of you, it was so beautiful. 

Over at the Los Angeles Biltmore 
Bowl, Phil Harris was busy playing. 
He was waving his baton around and 
the piano, next to him, was littered 
white with cards that said Miss Mil- 



dred Subdeb and Mrs. George Nobody 
and Mrs. Oscar Smalltown were hav- 
ing birthdays today and Mr. and Mrs. 
Jack So-an-so were celebrating their 
wedding anniversary and Private 
Tinamambob was there celebrating 
his last night before he went into 
service. 

Phil came over to the table to talk 
between the (Continued on page 98) 



COlflS P0RT8AII SERIEf 



(~fene "J lexncij: Appearing in 
Twentieth Century-Fox's 
"Thunder Birds". . , page -M 

Appearing in 
M-G-M's "Somewhere I'll 



Find You". 



pa;/' 



djatif C cc)H'r: Appearing in 
Goldwyn's "The Pride Of 
The Yankees". . . . paa, 

'J<-^ii'i (^tiiw^cTii: Appearing n 
Columbia's "They All 
Kissed The Bride" pafif iO 

PHOTOPLAY combined with movie mirror 




Clark with Carole 
n their happy 
ranch-time days 




Lest you may believe those 
rumors of the past six months, 
we give you the thought-pro- 
voking truth about Gable today 



BY RUTH W^TERBURY 



How Clark 



s Conquering 



SIX months have now passed since 
that tragic January day when a 
plane bearing Carole Lombard 
and her mother, Mrs. Peters, Otto 
Winkler, Clark Gable's best friend 
and personal press agent, and fifteen 
young Army pilots crashed against the 
barren slopes of Table Mountain in 
Nevada, killing all on board. 

These months since he lost Carole 
have been the blackest months Gable 
has ever experienced, even though 
none of his life, prior to his first movie 
success in 1931, was ever easy. 

Many rumors have been circulated 
about him during this time. There 
were stories that he was going into 
the Army as a buck private, that he 
had enlisted in the Navy, that he had 
a commission in the Signal Corps, that 
he was selling the Encino ranch that 
had been his and Carole's honeymoon 
house, and that he was retiring from 
the screen. 

None of these stories is tioie, though 
the fact that each was reliably printed 
and many of them believed is per- 
fectly understandable since Clark did 
consider each of these ideas in turn, 

34 



only to reject them all eventually. 

This is the truth concerning Clark 
Gable today: He is not going into 
active military service. He is not sell- 
ing the ranch. He is going on with 
pictures. But the reasons that have 
determined these decisions reveal the 
changed Gable, this strong and com- 
plex man who after his exquisite 
wife's death discovered through his 
tragic loneliness that he had loved her 
even more than he had ever realized. 

You have doubtless read a score of 
times that to know Gable even slight- 
ly is to worship him. We repeat it 
here, only because the way he has 
risen over his sorrow is due to those 
qualities his fiiends have always 
known lay deep and secret within his 
personality. The dashing, debonaire, 
devil-may-care Gable you have seen 
so often on screen is definitely one 
side of his personality. But there is 
another side tcr him, the side which 
you will see more frequently in the 
future. 

Six months of lonely nights and 
bitter days have left their mark on 
Clark, as vou will observe when vou 



see "Red Light." To take merely one 
slight example: Until now he has 
always had trouble keeping his weight 
down. Yet within one week after 
Carole's loss, he dropped twenty 
pounds and he hasn t yet been able to 
regain even half of that. 

Another thing is that until 
spring it was almost instinctive wi 
Gable to do what he wanted to d" 
when he wanted to do it. That nick- 
name "King" wasn't tacked on him 
by mere accident. 

Clark may always have been gay 
and kidding about his requests, ye' 
he's always made them with the as- 
sured air of a guy who had the power 
to back up his requests and see to it 
that they were granted. 

But these six months he has been 
up against the most brutal of realities. 
He had lost the person who was tho 
most impor- {Continued on page 74' 



Right: A picture of Clark 
posed before Carole's deotK 
with the smile he lo$ + 
but is fighting to regain 

PHOTOPLAY combined it-ith movie mirhos 




\Uee years 



In 



Central 



Park witn rv^ 



THE "I Wanted Wings" company 
had moved to a new set. The 
camera crew was setting up. The 
director and script writer were work- 
ing on new dialogue. The company 
waited on the sidelines. 

"No one go away," called the as- 
sistant director. "We'll be rehearsing 
any minute. No one go away. We're 
already behind schedule. We've got 
to step on it!" 

Veronica Lake shook her hair out 
of her eye. She looked unhappy. An 
item she had read in a gossip column 
that morning concerned her. It was 
completely unimportant really. Most 
girls would have read it, thrown the 
paper aside and forgotten it entirely. 
But Veronica, new to Hollywood's 
limelight, had yet to accustom herself 
to columnists' personal remarks. 

Bored with waiting, the men on the 
set began to kid Veronica about that 
item. 

"What is it they're going to call you 
for advertising purposes?" someone 
asked. "The Blonde Bombshell, isn't 
it?" 

She managed a small smile. She 
was just realizing, with horror, that 
the column in which that item ap- 
peared was syndicated; that John 
Detlie, her husband, on location with 
a Metro company outside Gallup, New 

AUGUST, 1942 



Mexico, was probably being kidded 
about it too. 

An older actor, wiser than the rest, 
saw the storm warning cloud Veron- 
ica's eyes. "Don't let them get you 
down. Miss Lake," he said protec- 
tively. 

Tears spilled from Veronica's eyes. 
She pushed back her chair and ran 
from the stage. She stopped at her 
dressing room for a polo coat and 
went on to her car. She was on her 
way to John Detlie in New Mexico. 
She had to tell him how much she 
loved him and hear how much he 
loved her; even if columnists did make 
personal remarks about her. She had 
to assure John, once more, that he had 
only to say the word and she would 
give up her career, gladly. 

She drove pell-mell through the 
valley and reached the mountains at 
night. There was a high fog. Only 
now and then could she see the stars. 
Towards morning it started to snow. 
Every few miles she had to get out 
and clear a little window on her 
windshield in order to see. She grew 
numb with cold. It became skiddy. 
Her car no longer held the road. On 
a steep downgrade she lost control. 
She shut of? the ignition and let the 
car go. It tumbled over the side of the 
road, crashing over rocks and through 



underbrush. Then,, by a miracle, it 
came to a stop against a miniature 
boulder. 

She crawled back up to the road. 
High overhead coyotes howled. Final- 
ly a ramshackle car came along. In it 
were a man and his wife and their 
baby on their way back to the Ozarks. 
They looked at her suspiciously. Her 
grease paint was smeared. She was 
streaked with blood. 

"Where you aiming to go?" the 
woman asked. 

"I'd like you to drop me off at Flag- 
staff," Veronica said. "I'll pay you 
well." 

At Flagstaff she arranged for her 
car to be brought in for repairs and 
hired another to take her on to Gallup. 
It was noon when she got there. John 
was off on location. The production 
manager's wife got her to bed and 
sent for John and a doctor. 

"You have two broken toes and 
you've cut yourself badly," the doc- 
tor told her. "You haven't suffered 
too much — so far — because the cold 
acted as an anesthesia." 

John came back to the hotel as fast 
as he could. 

"Maybe you should call Para- 
mount," she whispered, safe in his 
arms. "They don't know where I am." 

"Baby," (Continued on page 71) 

37 




At the Academy dinner with Mrs. Coop- 
er, Gary looked nicely nonchalant, 
fooled no one who was In the know 



Dick Arlen played with "Old Long 
Tack" in "Wings," was an eye wit- 
ness to the pretzels incident 



"Coop's" mother, Mrs. Charles 
Cooper, cover-up for one of 
Gary's secret Hollywood activities 




at Hollywood Thinks of 




The victim is "Silent-Slim" Cooper; the subject, a "Things I Never 
Knew Before" expose. The result? Eyebrow-raising! 



WE STARTED our research in 
the matter of what people 
think of Gary Cooper by ac- 
cepting the much pubUcized charac- 
terization of him as a very swell guy 
• who positively won't talk. It was im- 
pressed upon us that compared to 
Gary the Sphinx is just another Bob 
Hope; that he falls asleep on the set 
j every time the director's back • is 
turned and that the big part of an 
assistant's job on his pictures is to 
wake him up in time for each take. 

We were also advised that he has a 
five-thousand-word vocabulary — four 
thousand, nine hundred and ninety of 
which are yeahs, uh-huhs, yups and 
nopes. 

Then we began to talk to the people 
who really know Gary. 

Cecil B. DeMille, who has made 
about as many pictures with Gary as 
any of them, certainly doesn't think 
Cooper is asleep on his feet. 

"The thing about Gary Cooper that 
has impressed me most," says DeMille, 
"is his amazing alertness. From the 
time we made our first picture I have 
realized that he never misses a thing 



BY WILLIAM F. FRENCH 

that goes on before the camera. 

"People who see Cooper lounging 
off camera," explains this veteran pro- 
ducer-director, "don't know what's 
going on behind those half-closed eyes. 
But I know he's developing the busi- 
ness and characterization that bring 
naturalness and humanness to his 
parts in my pictures. 

"While Gary leans against a prop, 
chewing a match or a straw, he is 
checking every detail of setup and 
dialogue; noticing just how his stand- 
in is being lighted and almost invari- 
ably working out a suggestion to im- 
prove a camera angle or a bit of 
business. 

"So don't let Cooper's stance fool 
you; he's on his toes all the time." 

One of our very best columnists re- 
cently reported that Dick Arlen had 
said a producer tried to get Gary 
thrown off his picture for sleeping on 
the set all the time. 

"That was a gross misquote," pro- 
tests Dick. "There never was any such 



incident, and there isn't a producer in 
Hollywood who wouldn't do nip-ups 
to get Gary on a picture. 

"I did say that Cooper had a marvel- 
ous knack of being able to go to sleep 
when he had to stay on the set while 
they were shooting something that had 
nothing to do with his part. But let's 
forget that. You said you wanted to 
know what I think of Gary; what 
about him impressed me most. That's 
easy. I think Cooper is the most 
agreeable guy in the world — but the 
last guy on earth you can push around. 
Old Long Tack just can't be crowded. 
The busy boys around the studios who 
try to make a showing by hustling 
people just bounce of? him. 

"That isn't something he has de- 
veloped since he became a star. He 
always was that way. Golly," and 
Dick rubbed his chin with the back of 
his hand, and grinned, "I remember 
way back when he was a lanky new- 
comer with just a bit to do in 'Wings.' 

"Gary had arrived in Tucson, Ari- 
zona, from Hollywood, and had been 
told to come to our hotel in the morn- 
ing ready to (Continued on page Id) 



AUGUST, 1942 



39 



your right 
on my shoul- 

M i ke com- 
ded ioftly 




"The Taming Of The Shrew" has nothing on the story of Mar- 
garet, a career girl who thought she could manage everyone 
until she met up with a certain young man named Mike 



" I 'M not going through with it!" 
I Vivian Drew declared flatly. The 
distant chatter of wedding guests, 
moving through the grounds of the 
lovely Drew Westchester estate, came 
faintly to the ears of the little group 
gathered in Vivian's bedroom. 

"I'm not going through with it!" she 
repeated, hurling her wedding dress 
to the floor. 

"See," Mrs. Drew turned helplessly 
to her older daughter Margaret. "She's 
not going through with it." 

"She certainly can't go through with 
it, dressed like that." Margaret sur- 
veyed her half-clad sister calmly. 
This was not the first time she had 
had to deal with Vivian's sudden emo- 
tional vagaries. Ever- since her 
father's death three years ago, Mar- 
garet had managed the family. She 
had also assumed control of her 
father's business, the Drew Transpor- 
tation Company, and the executive 
responsibility had been heavy for a 
young woman. It had taken all her 
capable mental ability, plus the 
shrewdness and hardness she had 



Fiction version by 
MARTI SECREST 

A Columbia picture, directed by Alexander 
Hall. Produced by Edward Kaufman. 
Screen play by P. J. Wolfson. From a 
story by Gina Kaus and Andrew P. Solt. 

forced herself to develop, but now she 
was regarded with respect among 
businessmen. Vivian's marriage to- 
day to Stephen Pettingill was the 
result of Margaret's planning, for 
Vivian was too irresponsible to be al- 
lowed to have her own way and Mar- 
garet knew she had chosen wisely for 
her sister. 

"But I don't love Stephen," insisted 
Vivian tearfully. "I love Joe." 

"Who's Joe?" asked Margaret, deft- 
ly sUding the wedding dress over 
Vivian's head. 

"Joe Krim. He works in a filling 
station. Why, I wrote to him just last 
week. . . ." 

"You wrote this Joe person letters!" 
interrupted Margaret, instantly aware 
of the possibility of blackmail. 

"Only two or three," Vivian ad- 



mitted plaintively. "Every time I saw 
him my head would swim and my 
knees would get weak." 

"Biliousness!" Margaret replied 
briskly. 

"That's nonsense, Margaret," Mrs. 
Drew defended Vivian spiritedly. "It's 
a family characteristic. All the Drew 
women had it. I know when I first 
met your father my knees. . . ." 

"You know you've always suffered 
with your liver," Margaret pointed 
out, adjusting Vivian's veil. Her mind 
was ticking rapidly. This Joe person 
might conceivably try to break up the 
wedding. She must be prepared for 
anything that happened. 

Impulsively she took Vivian in her 
arms and her voice softened with 
tenderness. 

"Darling, I don't want to seem 
harsh. You'll see I'm right. Stephen 
is a fine boy." Vivian clung to her, 
tears welling in her eyes. Margaret 
kissed her soothingly. The crisis was 
past and Margaret knew it would be 
safe to leave her now. 

As she started back downstairs her 



AUGUST, 1942 



41 




mind shuttled from Joe Krim to a 
problem she had been unable to for- 
get upon leaving her New York office. 
One Michael Holmes, an idealistic 
social reformer, had written a book 
attacking transportation companies 
and Margaret figured prominently in 
it. His references to "M.J.," as she 
was known in the business world, 
were far from flattering. She was 
used to being referred to as a harsh 
employer. If she had not severely 
schooled herself to forget sentiment 
in business, the Drew Transportation 
Company would not be what it was 
today. She had completely sacrificed 
herself as a person; she had given up 
all the gay, laughing moments that 
should be part of a girl's life and had 
concentrated on filling her father's 
shoes. But what this Holmes person 
had said about her was maliciously 
unfair! One look at the proofs of the 
book had convinced her of that. 

Margaret smiled to herself at the 
thought of how she'd got an advance 

42 



would 

swim," Vivian said tearfully. "Bil- 
iousness!" Margaret replied briskly 



look at the Holmes opus. The pub- 
lishing house to whom he'd submitted 
the book had a loan out against the 
Drew bank. Realizing at the last mo- 
ment that publication might infuriate 
Margaret and thus mean the loan 
would not be renewed, the publisher 
had gingerly shown her proofs of the 
book and, when she hit the ceiling, 
promised that his house would never 
put it on the market. 

But there were other publishing 
houses in New York — and the only 
way to be sure the book would never 
see the light of print was to thrash 
the matter out with Holmes himself. 
Margaret had given orders that he was 
to be found and brought to her office. 
Nevertheless, the thought of this man 
and his arrogance followed her home 
and nagged in a corner of her mind. 

Her attention was suddenly dis- 
tracted by a racket at a side gate 
and. signaling to the butler to accom- 
pany her, she went to investigate. 
Inside the side wall she found a young 



Margaret J. Drew Joan Crawford 
Michael Holmes Melvyji Douglas 

Mrs. Drew Bil lie Burke 

Vivian Drew Helen Porrish 

Johrtrty Johnson Allen Jenkins 

Susie Johnson Mary Treen 

Stephen Pettingill Roger Clark 



man, slim, personable and slightly 
breathless. She looked at him and, 
without warning, her knees were 
shaking; her head swimming. 

The butler took her arm. "Aien't 
you well, miss?" 

"I'm all right," she answered 
weakly. "It's just — my liver. . . ." 

The banging outside continued. The 
young man, with the detached air of 
one merely doing his duty, opened 
the gate and a furious detective 
rushed in. The stranger caught him 
neatly on the chin with a swift blow 
which knocked him back outside. 
Then he locked the gate and turned 
to Margaret with a flourish. 

"Is there anything else you wish, 
madam?" 

"Don't call me 'madam'!" 
"Sure," he agreed with a grin. "I'd 
much rather call you 'Baby'." 

The peculiar sensation seized Mar- 
garet again, but the strains of the 
wedding march interrupted her reply 
and she hurried into the house. The 
young man shrugged his shoulders 
and wandered into the rumpus room. 

"They're all in the foyer, sir," the 
bartender informed him. "The cere- 
mony is about to start. " 

"I hate weddings, " the stranger in- 
formed him moodily, pouring a stiff 
drink of brandy. It was very good 
brandy and he (ContiTJued on page 82) 

PHOTOPLAY combined lOlth movie MIRRO": 




^°/9e Burns's 
of a w/fe 
^'?9'^ Allen. 
*?T'es smuqiv 
George 
° rurnmy run 
'"s money 



♦okes over A\an 
Curtis; v/.ns bY ^er coras 

irbtnot- or sequences 



What everyone has been asking for! 
A simple easy way to learn how to 
cut yourself in on the game that 
Hollywood — and the rest of the 
j country — sits up all hours to play 



i 



CIN RUMMY is essentially a 
game for two persons, although 
there are several combinations 
by which more persons can play. The 
rules given here are for the two-per- 
son game. 

The players cut for the deal and the 
one who turns up the higher card be- 
comes the dealer. Each player receives 
ten cards; after the deal, the next card 
is turned face up and placed beside 
the rest of the pack, which is turned 
face down. If dealer's opponent 
doesn't want the first face-up card, 
dealer may take it; if both refuse, 
the opponent draws from the pack. 

Each player in turn draws one card 
(no more than one) from either the 
stack or the face- up pile, as he 

AUGUST, 1942 



chooses, and then discards on the 
face-up pile. 

The object of Gin is to arrange your 
cards, by drawing and discarding, into 
combinations or sequences, but in Gin 
these are not laid down on the board 
(face up) until one of the players 
"knocks" and the game is over. Com- 
binations are three or four cards of a 
kind, as three or four kings; sequences 
are three or more cards of a suit, as 
6, 7, 8 of hearts. Aces are low; they 
can never be used as a high card 
following a king. 

In order to knock, you must have in 
your hand enough cards arranged in 
seqences and (or) combinations so 
that the other unmatched cards still 
remaining in your hand add up to no 



Or 



more than 10 points or less. Kings, 
queens, jacks and tens count 10 points 
each, aces 1 point and all other cards 
their face value. 

For example, you could knock 
(which means you would lay down, 
face up on the board, all your combi- 
nations and sequences) with a four, 
three and ace (which totals 8 points) 
still unmatched in your hand. But 
you could not knock with an ace and 
a jack still remaining in your hand, 
because these would total 11. 

As soon as one player knocks, the 
other can lay out all the combinations 
and sequences in his hand and can 
also, where possible, play on the com- 
binations and sequences of his oppo- 
nent. He (Continued on page 70) 

43 



HoiTto make yourself 




I 




Actor Reagan: "In 'Kings Row' Parris was not for me, but Drake, I think, was." 



A FINE and fancy storjrteller holds 
his punch for the story's end, 
' ^ I'm sure. But as I'm a plain 
guy with a set of homespun features 
and no frills, I may as well write ac- 
cordingly. 

So, then, the whole deal on how to 
make yourself important is, as I see 
it, to (a) love what you are doing 
with all your heart and soul and (b) 
believe what you are doing is im- 
portant, even if you are only grub- 
bing for worms in the back yard. 

I am enormously in earnest about 
this. In fact, I believe I may say, with 
some pride, that I think I have some- 
thing here. I hold that all of this 
business about making yourself im- 
portant by means of externals is no 
good. Clothes, being seen in the Right 
Places, show, swank — No! They may 
make you seem important; but that is 
not what I am talking about. 

Nor do I believe. that you have to 
be a standout from your fellow men 
in order to make your mark in the 
world. Average will do it. Certainly 
if I am to serve as my own guinea 
pig for this httle homily, it will have 
to do it. For I'm no Flynn or Boyer 
and well I know it. 

The studio publicity department had 
to sweat ink out of its veins to turn 
out a biography on me. Mr. Norm is 
my alias, or shouldn't I admit it? 

I like to swim, hike and sleep (eight 
hours a night). I'm fairly good at 
every sport except tennis, which I just 
don't like. My favorite menu is steaks 
smothered with onions and straw- 
berry shortcake. I play bridge ade- 
quately, collect gims, always carry a 
penny as a good-luck charm and 
knock wood when I make a boast or 
express a wish. I have a so-so con- 
vertible coupe which I drive myself 
I'm interested in politics and govern- 
mental problems. My favorite books 
are "Turnabout." by Thome Smith, 
"Babbitt," "The Adventures of Tom 
Sawyer," and the works of Peail 
Buck, H. G. Wells. Damon Runyon 
and Erich Remarque. I'm a fan of 
Bing Crosby. My favorite actress is 
my wife. I like things colored green 
and my favorite flower is the Eastern 

PHOTOPLAY combined with movie mirbo* 



—and strangely enough, love has a lot to do with it, in a way you' 



BY RONALD REAGAN 

(At Told To Gladys Hall) 



lilac. I love my wife, baby and home. 
I've just built a new one — home, I 
mean. Nothing about me to make 
me stand out on the midway. 

Lots of kids write and ask my ad- 
vice about how to make their mark 
in an indifferent world. Seventy -five 
percent of them beef that they're not 
much to look at, haven't any dough, 
can't cut a dash. I could refer them 
to Lincoln, out of the backwoods, as 
plain as a calabash pipe. But they 
know all that. 

I want to say, first, however, that I 
question my right or abiUty to advise 
anyone how to get along because, be- 
fore I take any credit for any success 
that has come my way, I certainly 
must acknowledge the help of friends 
all along the way — people who were 
never too busy to give a young fellow 
a hand. Maybe that's my lead. I'm 
just trying to pass along some of the 
things I've learned from these same 
people. 

So, what I'd like to tell 'em is this: 
Look, you must love what you are 
doing. You must think what you are 
doing is important because, if it's im- 
portant to you, you can bet your last 
ducat that other people will think so, 
too. It may take time, but they'll get 
around to it. And one thing more, one 
really important thing: If, when you 
get a job, you don't believe you can 
get to the top in it, it's the wrong job. 

NOW, of course, I don't mean that 
just believing you can get to the 
top will always get you there. But 
I do say that you'll never get there 
unless you beUeve that you can. 

I'm not writing anything I don't be- 
lieve myself, you know. Nor anything 
that doesn't come right out of my own 
experience. For me, the one job in 
the world I want to do is acting. Offer 
me ten times the money for some- 
thing else, and I wouldn't do it. And 
right from the start, down there in 
"B" pictures where I began, through 
four years of "bit" parts (the "Poor 
Man's Errol Flynn," they called me), 
I was sure that I was in the right 
business for me. I knew I'd get to the 
top, if I kept on working and 

ACCUST, 1942 




Officer Reagan with Maureen Elizabeth and his "favorite actress," wife Jane Wym^ 




learning. That's not brash self-con- 
fidence, either. Put me in any other 
job and I'd eat humble pies by the 
dozen. I'd lack self-confidence be- 
cause I'd be in the wrong job. 

Of course, doing what I wanted to 
do didn't put me always in a favor- 
able light. For example, in college 
I majored in sociology and economics. 
Not because I liked the subjects, but 
because they gave me the most time 
for the things I really liked, namely, 
college dramatics, football and a dive 
into campus politics. But even there 
maybe I learned something, because 
in the subjects I got poor marks. 
Whereas, in dramatics, I copped off 
the lead in most of the plays. In foot- 
ball, I won three varsity sweaters. 
And in politics I managed to corral 
a job that netted me about $250. 

Point being that success, for me, is 
where the heart is. And my heart was 
in dramatics, football and politics. 

After college, I got a job as a sports 
announcer and eventually I worked 
up to broadcasting many of the big- 
gest sports events. The job wasn't 
very important at first but before long 
I woke up to find myself broadcasting 
sports events for which the sponsors 
paid my station hundreds of thousands 
of dollars a year. This meant that 
folks were listening to me, lots of 
folks. And they listened to me, I 
know, not because I had any experi- 
ence in broadcasting or any diction, 
but because I was so keen about those 
sports events myself that I felt it 
urgently important that other people 



Four grins add up to a nice good- 
by: Mary Livingstone, Jock Benny 
and Jane Wyman Reagan take a 
last-minute look at Officer Ronnie 

know about them, too, and nearly 
got high blood pressure telling 'em 
about them. 

But all of this doesn't mean, of 
course, that you can just sit back like 
a pink cupid with wings, indulge in 
some wishful thinking and, presto, 
you're important! It's never enough 
to love anything, is it, not even a girl? 

When you propose to a girl, you've 
got to be pretty convincing, use your 
heart as a mouthpiece. You've got to 
work for the thing you love, you al- 
ways do. 

WHICH brings me to when I first 
came to Warner Brothers, to the 
movies. I was certainly a nobody in, 
and to, Hollywood. I certainly hadn't 
learned to act by being a sports an- 
nouncer. I wasn't any collar ad to 
look at. All I had in this world was 
confidence that, with the proper mate- 
rial, I could entertain people. And 
the only basis I had for this confidence 
was that I wanted to entertain people 
more than I wanted anything else. 

Well, they threw me to the "B's." I 
made twenty to twenty-five "B's" be- 
fore I got the part of Gipp in "Knute 
Rockne — All American." 

Thanks to some good advice from a 
guy named Pat O'Brien, I played 
those "B's" as if they were "A's." You 
see, the boss only goes by results. If 
I do a part carelessly because I doubt 
its importance, no one is going to write 
a subtitle explaining that Ronald Rea- 
gan didn't feel the part was important, 
therefore he didn't give it very much. 



All my boss knows is what he sees on 
the film and someday he may look at 
that particular picture to judge my 
qualifications for a real film job. 

It wasn't until the part of the Gipp 
came up that I felt, Here is a job 
1 can do. 

It was the first time, during all 
those four years, that I ever asked for 
a part. Because you've got to be sure, 
awful sure, that you can do something 
better than the guys lined up ahead 
of you before you ask for anything. 

Quite a few times, before 'Knute 
Rockne," parts came up in pictures 
that I thought I'd like to play. In 
"Dark Victory," with Bette Davis, for 
example, they handed me a bit part. 
I stewed around for a bit, wishing I'd 
got the part Bogart played in that 
picture. Then I realized I couldn't 
top Bogey in that. It was his dish, not 
mine. In "Kings Row," Parris was not 
for me, but Drake, I think, was. In 
"Desperate Journey" Flynn's spot is 
his, not mine. 

But I knew that I could deliver the 
Gipp. I knew it because, when I was 
a kid, George Gipp was my hero, 
Rockne was my candidate for A Man. 
There was that love of what I was 
doing figuring in again. In addition, 
I knew I could play football and they 
wouldn't have to use a double for me. 

That part opened a door for me. A 
few people on the lot knew me by 
name. The fans started to write in. 
(Folks, you fixed me!) 

WELL, then, believe it or not, love 
walked in again and gave me 
another boost. Love of a girl this 
time, love of the girl I married. One 
of my handicaps in this business had 
been that of looking too youthful, be- 
cause of which I lost a lot of parts, I 
know. Well, folks don't think of a guy 
as completely a juvenile when he has 
a wife and child! 

I've just been told, here at the 
studio, of two very important parts 
that were to be mine. They are in 
pretty big pictures, so I guess I can 
say my rules work. But I won't be 
doing those pictures. Uncle Sam has 
called me, a Reserve officer in the 
Cavalry, and I'm off to the war, still 
true to my two precepts: (a) to love 
what you are doing with all your heart 
and soul and (b) to beUeve what you 
are doing is important. I love the Cav- 
alry or I would not have been with it 
for so long. And along with a few 
million other guys, I feel pretty 
strongly about my country. As for 
believing what you are doing is im- 
portant — well, if fighting to preserve 
the United States and her Allies isn't 
important, you name it. 

And who knows — maybe when I 
get back again, "when the world is 
free," there will be other good part; 
waiting for me and for my buddies. 
So long! 

The End 



46 



PHOTOPLAY combined with movie mibror 



In which* a dress suit gets dressed up to play 
the hero in this amusing preview of Twentieth Century-Fox's 
amazing picture, "Tales Of Manhattan" 



l1 \/OU may call me a tail coat — just a thing of broadcloth and satin, to be worn as full dress on 
^ I special evenings of splendor. But you will never in your life know the romance, adventure — yes, 
and tragedy — that I have known in mine. For I have been close to some of the great men of our times. 





There was Paul Orman (Charli 
Beyer), Broadway's popular matinf 
idol. We looked well together, Pai 
the actor, and I, his tail coat, ac 
that's what Ethel (Rita Haywortl 
thought when she maneuvered hi] 
into a tete-a-tete in her hunting lodg 
Her husband, Halloway (Thorn; 
Mitchell), caught us there. While \ 
toyed with a gun, it accidentally wei 
off. Paul fell to the floor and Eth 
sought the arms of her husband. Hit 
Paul rose and absolved both as 1 
made a dramatic exit. Nice acting- 
but there was a bullet hole in it 
shoulder, and Paul's, too. Wh« 
Paul collapsed in the car, Luther, h 
chauffeur (Eugene Pallette), drove i 
to a hospital. 



Then the crooked Luther sold me 
to the valet of Harry Wilson (Cesar 
Romero) to wear at Harry's wedding 
that night. Harry was in a mess. His 
fiancee, Diane (Ginger Rogers), had 
discovered a love note from another 
sweetheart in the pocket of his tail 
coat. So Harry had his best pal, 
George (Henry Fonda), come over 
and claim the coat — and letter — as his, 
I to substitute for Harry's tail coat. 
George, to help a pal, proceeded to 
illustrate the romantic moments of the 
letter to Diane. Suddenly, they were 
in each other's arms — and liking it. 
Which left Harry without a bride and 
me being hustled off to a pawnshop 
because I was bad luck. 





^1 

^ There I caught the eye of Mrs. 
Smith (Elsa Lanchester) whose hus- 
band (Charles Laughton) had been 
tr>'iiig for years to get an audition 
■with Bellini the great conductor 
(Victor Francen). Bellini had finally 
consented to let Smith conduct his 
ou-n symphony on Bellini's program. 
Bui Smith had no tail coat — that is, 
until Mrs. Smith saw me. We were a 
light fit. Smith was too fat and I was 
too thin. But it was a great moment 
just the same. Smith waved his baton 
over the orchestra, a packed audi- 
torium thrilling to his music. Then 
something a-w'ful happened. My shoul- 
ders began to rip — then spht apart. 
The audience roared with laughter. 
Smith and I were heartsick. At that 
moment Bellini rose and removed 
his own coat. Others took the hint. 
Soon there wasn t a i»ir of black 
sleeves to be seen in the house. And 
what an ovation they gave Smith! 
Gratefully he donated me to a mission, 
saying I would bring good luck. 



Good luck — me! Well, maybe. Be- 
cause when Larry (Edward G. Robin- 
son), who everybody thought was 
just a bum. received that invitation to 
attend his class reunion at the Waldorf 
Astoria. I was fixed up for him. He 
was getting away beautifully with his 
trtimped-up storv- of ha\-ing spent 
"years in China" when a wallet was 
reported missing. One of the drunks 
jokingly suggested everyone be 
searched. AH agreed but Larn,— who 
was too proud to reveal he was wear- 
ing only a dickie under his dress coat 
Williams (George Sanders), who had 
never liked Larn,-. accused him of the 
theft. ■"Come on. Larn,-."' I whispered. 
"Take me oflF and let 'em have it!" 
So Larry- took me off. told them the 
tnath about himself with challenging 
dignit>- and we left, just as it was 
announced the wallet had been found. 
But Larr>- was through wth "society"' 
and went back to bemg a bum. 
And me'' 





6 



Well I feU into the hands of a gunman (J. Car- 
rol Naish) who had stolen fifty- thousand dollars 
and was headed South in a plane. It was that 
stolen money m my pocket that really burned 
me up. not the gangster's cigarette that fell on 
me. Frantically he pitched me out of the plane 
bills and aU. Down . . . down . . . down . . ! 
I went . and landed in a sharecropper's field 
worked by Luke (Paul Robeson) and his %vife 
(Ethel Waters). When they found the bOls they 
hurried me oft to their preacher who said the 
money was in ans^^•er to their prayers and they'd 
dmde It equally among all their people. You 
never heard such singing for joy. And I didn't 
even mmd when they gave me to an old man 
who needed a scarecrow for his httle field. Now 
for the first time I am reaUy useful protecting 
the old mans food crop. And I'm bad luck to 
nothing but the crows! 



You must get to know Julie Burns from Gladstone, Ohio. 

For she is you — and what is happening to her 
here would actually happen to you, too, should you go to Hollywood 

BY m\[ mmu 



What has happened so far: 

AS a startling and unexpected 
honor, Julia Burns, of Glad- 
^ stone, Ohio, wins first place in 
a national radio contest to discover 
America's most beautiful and typical 
girl, the prize being a trip to Holly- 
wood to play the role of Miss America 
in a Warner Brothers picture. In a 
furor of home-town adulation, she 
prepares to leave Gladstone and her 
devoted admirer, the sandy-haired 
young contractor, Tod Jenkins. At the 
last moment Tod asks her an all- 
important question. Will she send him 
Hollywood ideas for his first building 
venture, a house to be erected upon 
a Gladstone corner which Julia par- 
ticularly loves, because of a spreading 
elm beneath which her happiest play 
days were spent? Julia, who has been 
certain that Tod would propose before 
her leave-taking, feels distinctly let 
down. 

On the train she meets Scott Hen- 
dricks, a young lady who intends try- 
ing to crash pictures with a capital 
of but one hundred dollars. The two 
girls agree that they would like to 
unravel the mysteries of Hollywood 
together. So JuUa invites Scott to 
share her luxurious apartment at the 
Castle Argyle, where she is to be a 
guest of the studio. 

Julia's first day at the Warner 
Brothers studio is a series of glamor- 
ous adventures beginning with the 
changing of her name to Julie Bur- 
nette and ending with an introduction 
to good-looking Curt Melbourne, the 
studio's ace still man. There Miss 
America is told the exciting news that 



tonight she is to make her first ap- 
pearance as a Hollywood personahty. 
She will dine at the Mocambo and 
attend a premiere, escorted by an 
unrevealed Prince Charming. 

Hurrying back to Castle Argyle, she 
dons the beautiful white evening gown 
given her by the studio, her anticipa- 
tion and curiosity reaching a fine 
chmax with the arrival of a stunning 
corsage of pink camellias. It bears a 
card which reads: "Half-past six 
o'clock" . . . that, and no more. 

The story continues: 

IT was a radiantly lovely Julie who 
slid into the clinging On-y-KeUy 
evening gown, pinned cameUias in her 
hair and donned the studio's white fox 
fur cape, to wait the ring of the house 
telephone which would announce a 
gentleman in the lobby. The sui-prise 
was as delightful as it was complete, 
when the moment finally came and 
the hitherto unidentified escort proved 
to be Mr. Curt Melbourne. 

He was the first man she had ever 
beheld in tails and a topper. More- 
over, he put her into his cream-col- 
ored car with an ease, a savoir-faire 
which she had never seen outside 
the "movies." All of which gave 
him no edge over Tod, her mind 
hastened to affirm, but it was a thrill, 
nevertheless, to have him fit so per- 
fectly into the rest of this Cinderella 
evening. 

Her eyes reflected the lights of the 
Boulevard as Curt nosed into the line 
of traffic. But after a few blocks he 
turned toward the near-by hills and 
presently they were climbing a twist- 
ing road sti'aight to the top of a 



ILLUSTRATED BY SEYMOUR BALL 



rugged, rocky ridge. 

"Is the Mocambo in the moxintains?" 
Julie wanted to know. 

"No," Curt replied, "but we're go- 
ing in the right direction. We're just 
taking the high road." 

Suddenly he swxmg about and 
stopped upon a ledge with so superb 
a sight below that Julia fairly held 
her breath! There were the lights of 
Hollywood, like jewels spilled across 
black velvet; buildings with glowing 
towers, scarlet, blue and amber neons, 
and over it all, a moving, changing, 
crisscross design of oblique angles, 
the searchlights of the premiere. 

Curt enjoyed the rapture of the girl 
beside him. 

"Like it?" he inquired. "So do I 
I think it is one of the most thrilling 
sights in the world. And this is only 
our conservative wartime view. Now- 
adays it is only one third as brilliant 
as usual and the searchfights must 
swing low instead of shooting straight 
up among the stars somewhere . . 
Take one long look," he added, "and 
we'll tear oui-selves away, for in just 
about ninety minutes they'll be look- 
ing for you down there in the midst 
of it, and we have dinner to put awa> 
in the meantime." 

The road down proved to be a 
paved avenue bordered with estates, 
imposing ones, and small ones; house.'^ 
built to fit the curves along which the> 
lay. Then finally, as abruptly as the\ 
had left the Boulevard, they returned 
to it; came out, in fact, almost a' 
the door of the ultrasmart Mocambo 

Julie could scarcely imagine wha; 
sort of magnificence to anticipate 
within the (Continued on page 52) 



Based on "Hollywood Starlet" by Dixie Willson, the latest in Dodd Mead & Company's popular Career Book series 
50 PHOTOPLAY combined with movie tAocKn 



portals of this world-famous play- 
ground of the stars. But presently, 
from the table previously reserved for 
them, she found herself in just a quiet, 
softly hghted restaurant, not in the 
least ornate or pretentious, dinner 
patrons in smart street clothes as well 
as in evening dress, several of them 
screen celebrities. 

Curt didn't dance as well as Tod, 
but was just tall enough to be pro- 
tecting, his conversation so amusing, 
she didn't care whether they danced. 

At a quarter to eight they left. It 
was a ten-minute drive back along 
Sunset to the premiere. But here at 
the Mocambo they "changed cars." 
The studio had sent a limousine and 
chauflfeur to properly dignify Miss 
America. Curt left his own to pick up 
later. 

At the theater Julie found bleachers 
built along the street for the evening's 
event were now packed with a crowd 
breaking into applause as its favorite 
stars arrived. 

In a courtyard lovely with palms, 
giant ferns and fountains were the 
famous cement blocks recording foot- 
prints and autographs of the stars. And 
as Curt guided Julie across this exotic 
space someone on the sidelines called 
out: "There's Miss America!" 

Heads instantly craned and there 
was a round of applause. Julie bowed 

. . smiled . . . and waved her hand- 
kerchief. 

Proceeding into the theater, she was 
certain she saw every screen person- 
ahty she had ever heard of! At nine 
o'clock the picture began. What pic- 
ture it was, she scarcely knew. She 
decided, afterward, that the trouble 
with a breath-taking evening like this 
one, was that you were in such a daze 
while it was happening, you couldn't 
realize what was going on. And by 
the same token, afterward you 
couldn't remember! 

As the picture finished and the 
crowd began to move into the aisles, 
the occasion turned into an over- 
crowded reception for the stars of to- 
night's premiere, Juhe introduced to 
persons whom she had never been 
able to imagine as real flesh and blood! 
After an hour's milling about through 
this brilliant kaleidoscope, they were 
outdoors again, the police still busy 
keeping space clear. 

Over loud-speakers, which were for 
the benefit of parking lots a block 
distant, the curb attendant called 
names of persons now ready to leave. 

"And so the thrills of this night are 
over," Julie thought as she and Curt 
joined the line waiting for cars. 

But she had anticipated her return 
to a mundane world too soon. For 
now, exactly as though Cinderella's 
fairy godmother waved her wand over 
another golden pumpkin, Miss Amer- 
ica heard the loud-speaker boom out 

52 



(while it seemed that the world stood 
still to listen!) : "Miss Julie Bumette's 
car . . . Miss Julie Bumette's car 
please come to the curb?" 

WITH the ringing of her telephone 
at seven o'clock the next morn- 
ing, Julie struggled into wakefulness. 
It was the call she had left last night, 
since that all-important interview test 
was scheduled for nine o'clock. 

She managed to be dressed and 
fortified with a cup of coffee in time 
for the studio car at seven-thirty, and 
at eight o'clock found herself on the 
lot in one of the white leather chairs, 
in the make-up department. 

Here Perc Westmore supplied her 
first comprehensive idea of this test, 
which Casting Director Steve Trilling 
had described as a five-minute camera 
and sound record. 

"It doesn't call for much make-up," 

▼▼▼▼▼▼▼▼▼▼^ 

DO YOU KNOW WHAT JOB 
YOU 

ARE REALLY FITTED FOR? 

America is calling with jobs, 
jobs, jobs! It's important — 
to you, to the man you work 
for, to your country — to be 
the right person for the right 
job. Have you asked yourself 
in which one you could ren- 
der your very best service? 

You'll find the answer in 
Photoplay-Movie Mirror 
Next Month! 

Mr. Westmore explained, "because its 
purpose is to give us an idea of you, 
yourself: We want to know if your 
face should look thinner or rounder, 
or if your hands need improving, or 
your voice or your manners." 

As he told her about it, giving her a 
light application of grease paint and 
powder, actors passed the open door, 
an Indian chief, who startled you, 
Priscilla Lane as a dude rancher. 

Julie herself, thirty minutes later, 
was taken to the Studio Theater to 
Sophie Rosenstein. 

"Good morning," that young lady 
said cheerfully. "Shall we go right 
along to Stage 19? On the way over, 
ril outline the questions you're to 
answer for the camera and the mike." 

It was a simple routine indeed, ques- 
tions which merely estabUshed her 
name, age, height, her home town. 



education and stage experience, but 
Julie's knees were quaking as she 
crossed the bam-like stage, past i 
dozen deserted sets, to one small ares 
banked round with lights. 

After due preliminaries of focus, dis- 
tance, et cetera, it was Sophie who 
asked the questions, Sophie standing 
quietly, reassuringly on the sidelines 
But lights, mike and camera, became 
fevered confusion for Ohio's most 
beautiful daughter as she answered! 

Afterward, returning to the Studio 
Theater, which was the domain of the 
young contract players and Sophie, 
their coach, the little girl from Glad- 
stone heard the news she had been 
waiting for; the story of the role she 
was to play as Miss America. 

"As for lines," Sophie smiled, "you 
won't have much to worry about, for 
you have exactly twenty-one words to 
say. The picture begins in the summer 
of 1941 in Grand Central Station, 
where you, with your father, wait for 
an old family friend arriving from 
Chicago. When he comes, you make 
your first speech which is 'How do 
you do?' Your second is a week later 
at the Forest Hills Tennis matches. 
Your father's friend proves to be a 
famous artist who asks if you will pose 
for a portrait. You reply that you 
would consider it an honor. 

"Then comes the really important 
thing you do," she went on, Julie ar 
absorbed Ustener; "The portrait is 
painted in the dress worn by yoiu 
great, great grandmother, who, as t 
young pioneer, was the heroine of c 
lost wagon train. The artist begins tc 
unfold the story as he paints youj 
portrait, his tale fading into the dra- 
matic enactment of the episode, which 
of course, is the real meat of the pic- 
ture. The role of the pioneer girl L 
played by Miss Davis, her heroisn 
taking its proper place in history whei 
the artist's painting of you, in he 
character, is an overnight inspiratiai 
to a war-torn world; the portrai 
called 'Miss America' in honor of th 
girl who forged across the prairie ti 
give this country new land and nev 
purpose. It is a role," she finishec 
"which any girl may be proud an- 
thriUed to play." 

Indeed, Julie felt shivers coursin 
down her spine with Sophie's descrip 
tion! And now, as Miss America, sh 
was due in Wardrobe to fit the cos 
tumes she would wear; a smart suit i 
which she would meet the train, 
sports outfit for the tennis matches, 
dinner gown to be worn upon the i^K 
casion of the portrait's unveiling, an 
the pioneer dress duplicating the or 
in which Miss Davis would play 'ii 
star role. 

"Then if you'll meet me in the corr 
missary at one," said Sophie, su.t 
ming up Julie's schedule for the mo t 
ing, "we'll [Continued on page 'i 

PHOTOPLAY combined unth movie mir» 




A dollar-marked Hollywood property, John Garfield, who cashes in currently in M-G-M's "Tortilla Flat" 




Only old friends can play at this! Nelson and Jeanette spl 




T LIKE 



NELSON EDDY 



To Morion Rhao 



THE trouble with Jeanette is 
(Nelson says), for one thing, the 
way she can sleep at any time — 
between scenes, during the lunch 
hour, whenever she has the opportu- 
nity — and wake up from her nap 
fresh as a daisy and ready to scintil- 
late in her next "I Married An Angel" 
scene . . . while I sleep badly, even 
when I am home and in bed. 

There is another thing about 
Jeanette which I find censorable, too. 
I mean the way she can — and does — 
eat anything she likes, at any time. 
Take cake. She can eat a hunk the 
size of a telephone book and never 
gain a pound. But me — if I eat so 
much as a square inch, my waist- 
line suffers. 

And the way she can read on the 
train when she goes out on her con- 
cert tours, and I can't. She comes 
back to Hollywood erudite as the 
deuce. I am convinced she does it 
largely so she can lord it over me, 
who find it impossible to concentrate 
on a printed page with the motion of 
the train making it jitter like an old- 
fashioned movie! 

The trouble with Jeanette is, too, 
that I can never tell when she is going 
to give me the "dead pan" when I 
tell a story. I'll regale her with my 
very latest and best, but when I've 
finished she often just looks at me, 
poker-faced. Sure. She knows this 
lack of response gets my goat. That's 
the reason she does it. 

And the way she gets make-up on 
my coat in our love scenes! Heck, if 
the picture we're making is modern, 
the men have to furnish their own 
wardrobes. Thanks to Miss Mac- 
Donald, my cleaning bill is terrific. I 
feel like tying on a bib and saying, 
"Lay your cheek there, Baby!" 

The trouble with Jeanette, too, is 
that she likes to wear pink. I hate 
pink. Yes, I know it becomes her. 
Nevertheless. . . . 

Another thing about Jeanette that I 
find most {Continued on page 88) 

54 





heir differences and end up raving mad — about each other 




I LIKE ABOUT 

r 




JEANITTE MacDONUD 




To Marion Rheo 

NOW the trouble with Nelson 
is (Jeanette says), for in- 
stance, that devastating mem- 
ory of his that never lets him forget a 
single faux pas you've ever made, but 
is always trotting it out at embar- 
rassing moments to confound you. . . . 
Also the way he never has to keep a 
date book, but remembers eveiything 
he plans to do for weeks ahead. I 
mean, the Japanese can bomb Pearl 
Harbor and the United States can go 
to war, but he remembers that ar- 
rangement he made for a week from 
Tuesday at 4:30 p.m. to supervise the 
setting out of more lemon ti"ees. 

And those lemon trees he already 
has! I work my fingers to the bone 
trying to grow something — anything — 
that will equal those lemon trees of 
Nelson's and I never succeed. . . . 

And how he is always "measuring" 
my nose and generally embarrassing 
me with his scrutiny, but will not (to 
date, at least) show me the bust he is 
sculpturing of me. "You won't like 
it at this point," he says, with a mad- 
dening air of masculine superiority. 
How does he knou; I won't like it? 

The trouble with Nelson is, too, that 
no matter how hard I study, he always 
knows his lines as well as I do 
mine! Honestly, when I work as hard 
as I do to be letter-perfect, I think 
I should be rewarded by slips from 
him now and then. But I seldom 
am! 

And it irks me, too, because he isn't 
a bit superstitious, when everyone 
knows all actors are superstitious! I 
admit it — I am! I have to wear that 
old plaid coat of mine on the day I 
start work in a new picture, because 
it brings me luck. And then Nelson 
smiles a superior smile and goes 
around knocking wood, crossing his 
fingers, looking over his left shoulder 
and clowning about superstitions in 
general until, if I weren't a perfect 
lady, I think I'd tweak his nose! 

Another thing about Nelson that 
simply drives {Contin.md. on page 88) 

55 



UftmillKMfll 





Howard Hughes, who made 
more top s+ars love him than 
any other Hollywood man 



56 



A HOLLYWOOD wolf stalks the fair and 
easy prey of the film colony just so long. 
Then a girl with blue velvet eyes, a 
million dollars, or black silk hair comes along 
and there's a wedding with photographers or 
an elopement to Mexico or Arizona, with every- 
body saying, "I never thought he'd marry her!" 
Or vice versa. 

One wolf alone defies this rule. Year in, year 
out — for the past ten years, ever since the love 
of his life went wrong — this wolf has gone his 
predatory way. Always the girls who fall in 
love with him insist upon believing his love 
for them is different. Always they surround 
his attentions with the secrecy he demands for 
all his activities, romantic and othei-wise. 
He has everything, this lone wolf. 
He's thirty-six years old and he's six feet, 
three inches tall, with broad shoulders and 
lean hips. 

He's rich as Croesus with achievements that 
are many and brilliant. 

He has a soft voice, half Southern, half West- 
ern, shy eyes and an infectious grin. 

He jams a crumpled old hat on his head and 
looks dashing. 

He has an inferiority complex, probably born 
of his deafness, which adds to his chann in- 
stead of subtracting from it. For it comf>els 
him to campaign for hearts instead of feeling a 
girl is doing all right for herself when he's 
around. 

He's Howard Robard Hughes. 

There should be a law against him. 

Current rumors in the film colony say that 
Rita Hayworth has first claim on the violent and 
volatile Hughes affections. Late spring found 
Rita and Howard at Palm Springs, a glorious 
place to be when love is young. Your horse 
takes you along mountain trails beside which 
the desert flowers grow and even while the sun 
is warm upon you the breeze is spiced with the 
snow that lies deep on the summits. You swim 
in private pools that lie like platters of tur- 
quoise and jade in sweet, tropical gardens. You 
sit in the dim Lun bar while the guitar boys 
strum your special song. You drive through the 
blackest, longest, quietest nights in all the 
world. 

But these delights leave their glow upon you 
so, when you walk down the main street ol 
this little desert town, you must be prepared — 
as Howard and Rita were not, apparently — 
for those you meet to read your secret. 

Rita denies the romance. She says, in effect. 

PHOTOPLAY combined with movie mhwor 



The names of his romances 
are startling. The details 
were kept secret — until now 



BY mii WHITELY FLETCHER 



pburn: Sh 
by he 
o, waifin 
w o r 



"No, no, a thousand times no! I've trouble 
enough right now without taking on anything 
else. I'm marking time waiting for my final 
divorce decree." But her denials aren't so con- 
vincing as they would be if denials and mystery 
weren't always part of the build-up of a 
Hughes romance. 

Before the Rita rumors there Wcis Faith Dorn. 
Maybe there is still Faith Dorn. No one ever 
can be sure. During the past year photo- 
graphs of a girl with young hair and soft curves 
have appeared in the papers. Captions have 
read "Faith Dorn, movie actress, and her mother 
are at Tucson, Arizona, guests of Howard 
Hughes, millionaire movie producer and air 
enthusiast. Hollywood is speculating whether 
Faith is scheduled to be Mrs. Hughes." 

If Hedy Lamarr, Ginger Rogers, Olivia de 
Havilland, Katharine Hepburn and a dozen 
other girls said, "Oh yeah!" as they read these 
items they were only properly cynical. How- 
ever, we'll bet a Dache bonnet there was a soft 
shine in their eyes. Women never forget the 
man who — for a year or a month or a day — 
made them feel like Juliet, Melisande, or Isolde. 

"What is Howard's charm — please?" we asked 
a star who once loved him and who likes to 
talk about him still. 

She said, "When a man who's quiet and re- 
served — even a little taciturn at times — goes 
overboard — well, a girl thinks, 'I caused this 
transformation!' She's twice in love then, of 
course. She's in love with the man and with 
her triumph." 

"When, usually, does Howard start losing in- 
terest?" we asked. 

"Whenever a girl begins to be possessive," she 
answered. "At such times he's quicksilver. 
He's gone even while the girl is sure she holds 
him." 

BEFORE Rita Hayworth there was Faith Dorn 
and before Faith Dorn there was Hedy 
Lamarr. 

For a month and more Howard and Hedy had 
nightly dates. He showered her with expen- 
sive gifts. He sent her crates of flowers. Every- 
body hopes — and believes — it was Hedy who 
called quits. Not for any man would she 
jeopardize her chances of adopting Jamsie, the 
little blue-eyed boy she loves so well. And it 
was when gossip began that this romance ended. 

Hedy was playing a return engagement on 
the Hughes merry-go-round. He sought her 
first back in 1938, after her triumph in "Algiers." 

AUGUST, 1942 




Hedy Lamarr: 
Everyone hopes 
and believes it 
was she who 
called quits 

57 




However, then too, she managed, 
where most girls fail, to stand clear 
of heartbreak. 

Austrian women, like Hedy, are 
adept at the game of love. Besides, 
once maiTied to Fritz Mandl, the 
fabulously wealthy munitions tycoon, 
Hedy harbors no illusions about mil- 
lionaires. In Hollywood it has been 
Reginald Gardiner, Gene Markey and 
George Montgomery who, in turn, 
have charmed her. 

Ginger Rogers, whom Hedy might 
have supplanted in the Hughes 
kaleidoscope, didn't stand clear of 
heartbreak from all appearances. In 
spite of two marriages Ginger remains 
emotionally young. She's also Irish; 
which means she'll always go out all 
the way for any man who becomes 
important to her and believe every 
wonderful whisper. 

Howard's wish for secrecy was 
Ginger's law. She wouldn't talk 
about him to anyone. She was happy 
to go dancing at little out-of-the-way 
places in the Valley. She and Howard 
were seen at a Hollywood spot just 
once, the Beverly Wilshire. She de- 
lighted in making it possible for him 



to visit her house, a hilltop fortress, 
without being seen. 

"Ginger's most frequent escort in 
recent months has been Howard 
Hughes," a columnist finally reported. 
You can keep things quiet just so 
long. "It seems likely he will become 
her third husband." 

Ginger then sued Lew Ayres, from 
whom she ha<i been separated for five 
years, for divorce and appeared at the 
studio wearing Howard's emerald. 
Even in Hollywood, where star sap- 
phires come as big as robins' eggs and 
diamond necklaces are as pyrotechnic 
as the Northern Lights, it didn't seem 
likely Howard, for all his millions, 
would invest in a ring like that if 
he were only fooling. 

"There'll be an announcement 
around Christmas," those close to 
Ginger confided optimistically. But no 
announcement was forthcoming. In- 
stead there were rumors it was all 
over. 

No one who saw Ginger given the 
Motion Picture Academy Award 
doubted those rumors were right. 
While she stood clasping her Oscar 
to her tears rained down her face. It 



was in vain she tried to speak. 

A knowing woman said, "It isn't 
over Oscar she weeps, poor child! But 
maybe Oscar will help her forget the 
other fellow." 

Which brings us to a luncheon 
table at Lucey's. Lucey's is a 
restaurant with flagged stone floors, 
high-breasted fireplaces, lounge 
booths, excellent spaghetti and potent 
cocktails. At Lucey's, if you listen, 
you'll hear all about the horses that 
run at Santa Anita (when their stalls 
aren't occupied by alien Japanese) 
and all about the stars who work at 
the Paramount and RKO studios 
across the way. 

There were three of us at table, a 
star and a publicity girl, both of whom 
must be nameless, and this writer. 

On the lapel of the star's suit — 
which fit her as if she had been 
poured into it — was a handsome sap- 
phire clip. Admiring this clip, which 
was new, the publicity girl said, "It 
must be pleasant being a movie star!" 

"It is — sometimes, " the star agreed. 
"That's the trouble. It's so dam 
pleasant sometimes that none of us 
is wiUing to give up, in spite of all 
the other times. Actually, you know, 
we have everything and nothing. 

"Above everything else a girl needs 
a man — to love her and protect her 
and boss her around now and then. 
We miss that. Those of us who are 
single outnumber the available men 
in the film colony — even counting 
those who wear toupees — about 
twelve to one. Our incomes frighten 
away nice guys who don't have much 
money. 

"Bored sitting alone, waiting for 
the phone to ring, we finally ask 
one of the boys who're always avail- 
able if they don't have to pick up 
a check to take us out. Or we give 
in and go dancing with a paunchy 
executive who has more hair on his 
hands than on his head; and before 
the first rhumba is over we wish we 
were home with that good book 
everybody's always talking about. 

"If," she concluded, "a young man 
who's attractive and has monej' ap- 
pears it's a rat race!" 

She was being amusing but she was 
in bitter earnest, too. 

The publicity girl said, suddenly, "I 
hear Ginger Rogei-s is flirting with a 
breakdown, that she comes in late and 
leaves early. They're glad enough to 
fit her scenes in when she's around 
of course. They know if she didn't 
have what it takes she wouldn't be 
working at all!" 

There was a little silence. "It was 
Ginger I was thinking about especial- 
ly, as you guessed," said the star. 

It isn't only in Hollywood when 
there aren't enough men to go rounc 
that Howard Hughes is dynamite 
Gloria Baker. {Continued on page 89 



58 



PHOTOPLAY combined with movie NfiRRor 



Standing aces high in the fash- 
ion field is this shell pink silk 

and wool gabardine sport 
suit worn by Miss Del Rio. The 
coat lops over with horizontal 

buttoning, the pockets are 
slashed snnortly in, the pleat 
is arrow-stitched for an adroit 
finish. The Del Rio choice in 

accessories — a white silk shirt, 
stitch-bordered, a crush-knit beanie 
and white and burgundy wedgies 




Romance Trappings 

Cocktail hour come-on is this 

Bionchini Ferier block ond pink 
wheat print that looks smart, 

looks cool, looks spectacular. 
The best-dressed Del Rio wears 
with it a black straw beanie with 

an intriguing rickrack-bordered 
veil, block suede gloves, shoes 
and big pouch bag with a carved 

ivory ornament. She further proves 
she's a lady in the pink with an 
Irene surprise — a froufrou collar 



This is Penny Salata, one of the fast-growing army of seriou 
minded young girls who are hard at work in the war plants i 
America. She does hand-tapping in the Propeller Division at tl 
Curtiss Wright plant in Caldwell, N. J., to "keep 'em flying 
Her denim work uniform is issued by the company. Fa$hi< 
Stylist Kaye took Penny in hand, packed a suitcase full of clotha 
took her on a tour of sun and fun dates while cameras clicks 




S SMUT 



\% \ ST\R 



'resenting our new Fashions For You! Each month Photo- 
3loy-Movie Mirror takes one of its readers from real life, 
:hooses miracle-working clothes for her, transforms her 
nto a smart young-set style leader. Under the expert 
guidance of stylist Evelyn Kaye, we have scouted the mar- 
:et to find the best buys in clever clothes for young pay 
:hecks. Just see what they do for our Girl of the Month! 



This first fashion find had 
Penny grinning with glee. 
It's a special setup for all 
the girls who keep 'em flying 
on a budget. First of all (far 
left) , it's a heavy rayon rep 
suit, a smart one that takes 
In a baseball game, goes on 
a movie date or starts a 
trip with a mode-of-the- 
moment look. Then, presto... 



. . . Penny and any other pen- 
ny-wise girl can leave the 
jacket home and go off patri- 
otically on a bicycle In the 
skirt. So far as fashion goes, 
they'll pass all the other 
cycling sisters on the road. 
The trick's in the new-type 
skirt buttoning: Flip the 
buttons one way to make 
it a tailored suit skirt; flip 
them the other and have 
a special trouser-skirt! 



The skirt: In dark green and 
brown. $4.98. The shirt: In 
natural, $3.98. The jacket: 
In dark green and Drown, 
$5.98. All these can be found 
at Stern's in New York 



(See next page for 
Penny's glamour date) 



63 



I 



All heads turned to look at 
Penny when she went on her 
dancing date at the famous 
Meadowbrook, haunt of the 
big-nanne bands. She made 
her entrance in sophisticated 
black lace on yards of 
"swooshing" organza. Don't 
let the picture in a locket 
fool you. It looks demure 
but it packs a fatal wallop 
man's language! 



Below: Penny got the thrill 
of her life when she was in- 
troduced to famous band 
leader Kay Kyser. He auto- 
graphed her Meadowbrook 
menu: "Kay Kyser likes 
enny! 




You can buy all these "Bright Beginner" fashions shown in "You Can Look As 
Sntart As A Star" at Stern's in New York. Simply write, phone, or go there! 



64 



You've read a lot of dreamed-up 
fiction about the stars' "back- 
grounds." Here are the plain — 
and sometimes humiliating — facts 



By "fBAH£S$ 





A tragic teen-age "xperience Is 
never spoken of by Jean Arthur 



Boyer won't easily forget one 
mortifying moment in Hollywood 



THE past is like a pawnshop where 
the customers have hocked the 
present and can never go back to 
retrieve it. There the things that have 
been part of their Uves — the funny 
things, the tragic things, the little hu- 
man things — lie hidden away and for- 
gotten on dusty shelves. But if those 
things had tongues they could tell 
revealing stories about their owners. 

Let's look into the pawnshop of the 
stars. 

Tucked away in a dark corner is a 
tragic memory in Jean Arthur's life 
that should soften her critics. 

For as far back as Hollywood can 
■ecall, Jean has been inclined to be 
Tiorose. Usually she remained by her- 
self. Occasionally, when she would 



come out of her shell, it would be only 
to sit silently in front of a record ma- 
chine. While other guests laughed and 
had fun, Jean drank in the music and 
stared into space. 

When she was still in her teens, 
Jean had a tragic marriage. Julian 
was tall, curly-haired, restless, irre- 
sistible in his happy-go-lucky way. 
His romantic charm appealed to the 
young girl who was a terrific roman- 
ticist herself. Very little is known of 
that marriage. It was short-lived. 
Julian died on a boat while holidaying 
off the coast of Catalina. Jean Arthur 
lelired deeper into a private world of 
her own choosing. Today she is hap- 
pily married to Frank Ross, one of 
Hollywood's youngest and smartest 



producers. They live quietly and enjoy 
the companionship of a few close 
friends. But Jean will probably never 
be as completely emancipated as she 
has every right to be. 

After the gallant way Glark Gable 
faced his recent tragedy, it's difficult 
to believe that a dress shirt could 
once have caused him so much unhap- 
piness. It happened when Clark was 
struggling so desperately to get a 
break in pictures. Finally he got a job 
that required wearing a dinner jacket. 
In those days cameras hadn't pro- 
gressed to the stage where they could 
photograph dead white. In order to 
appear white on the screen, dresses, 
shirts, sheets and pillow cases, cur- 
tains, tablecloths and napkins, all had 



AUGUST. 1942 



65 



One act of Barbara Stanwyck's ended 
her Hollywood social career for years 




Few people know of the black 
hour in Robert Taylor's past 



to be dyed pale blue or pink. 

Clark's face mirrored his unhap- 
piness when he heard the cameraman's 
words: "You'll have to have that dress 
shirt dyed blue, Mr. Gable. It picks 
up too much light that way." 

Clark pleaded, but in vain. It was 
the only dress shirt he had. In case 
he was invited out for an evening, he 
couldn't very well wear a blue shirt 
with his dinner jacket. He couldn't 
afford to go out and have another one 
made to order. Finally, Clark went 
to the director. It was okay with him, 
but the cameraman stood his ground. 
Clark's precious shirt came back from 
the wardrobe dyed a heavenly blue! 
Soon after that Clark got his big break. 
There have been many dress shirts 
since then, worn on red-letter occa- 
sions, but none of them does he re- 
member so vividly as he recalls that 
baby blue dress shirt. 

When stardom came to Dawn O'Day, 
she retained the name of the character 
she played — Anne Shirley. It had been 
a long, hard struggle. Anne and her 
mother, Mimi Shirley, breathed their 
gratefulness. The studio needed a 
home sitting to publicize "Anne Of 
Green Gables." Anne Shirley couldn't 
have been more delighted. The home 
address of the Shirleys proved to be 



a five and ten cent store. The studio 
was bewildered. Quick checking dis- 
closed that Anne lived above the five 
and ten. 

It was a tiny apartment scrubbed to 
shining perfection. The bed was hid- 
den behind a door in the wall. Here 
and there were homey bits of decora- 
tion. Potted plants in tin cans lined 
the fire escape. The most beautiful 
thing in the room was the shining 
light in Anne Shirley's eyes. It was 
her home. She was proud of it. To- 
day Anne could still live there and 
still feel just as proud. The only 
difference between sweet Dawn O'Day 
who became Anne Shirley and Anne 
Shirley who became the divorced wife 
of John Payne is — Anne was happier 
then than she is now! 

Back in Charles Boyer's past there 
is a moment he'll never forget. The 
studios were then making foreign ver- 
sions of American pictures. Boyer had 
been brought over to speak in his 
French mother tongue. He didn't 
know a soul. He couldn't speak the 
English language. Very little atten- 
tion was paid to him on the M-G-M 
lot. He was a miserable man. When 
foreign versions were discontinued, 
they were stuck with Boyer! Stuck 
with the man they paid a reputed one 



hundred thousand dollars for one pic- 
ture, just a few years later! 

In order to get a little use out of 
him, Boyer was given the bit part of 
Jean Harlow's chauffeur, in "Red 
Headed Woman." Boyer had to open 
the door and speak one line. That 
was all. The line was in English and 
it made him nervous. He fumbled with 
the doorknob. "Great scott," all but 
screamed director Jack Conway, 
"don't you even know how to open 
a door!" This — to a man who had 
starred on the French-speaking stage 
for fifteen years. Today Charles never 
gets a chance to open doors. They 
see him coming miles away and do it 
for him! 

Those who remember Barbara Stan- 
wyck in the past remember her as a 
most unpleasant and anti-social young 
lady. Barbara was new in Hollywood. 
Frank Fay was the main attraction in 
their family. Or so Frank felt and 
Barbara believed him. The first party 
they went to, Frank went into the 
other room and played poker with the 
boys. Barbara was left alone in a 
strange room filled with stranger pro- 
ducers' wives. She sat there in silence 
while they drooled over gossip. They 
tore their husbands' stars to bits and 
shreds. The next time Barbara was 



66 



PHOTOPLAY combined with movie mirror 



invited, she took along a book. She sat 
and read the entire evening. Thus 
ended her career in Hollywood so- 
ciety for many years to come. 

Very few people know of a certain 
black hour in Robert Taylor's past. 
Unprepared for the avalanche of 
popularity which had descended upon 
him, he was at a loss as to how to 
handle not only it, but the barrage of 
criticism that rode along with it. 
Things went from bad to worse. So 
did the roles he was handed to play. 

Then one day a beaten Bob went 
out to the airport and bought a seat 
on the first plane leaving the ground. 
He didn't care where it went. He was 
through in pictures, so what difference 
did it make? When the door of the 
airliner was thrown open at Salt Lake 
City and all the passengers got out, it 
still didn't matter. 

Bob walked the sprawling streets of 
the city in the valley of salt. Presently 
he came to the majestic Mormon Tem- 
ple, then the statue commemorating 
the Miracle of the Sea Gulls which 
saved these hardy pioneers from the 
pestilence of the locusts. All about him 
were strength, simplicity — and faith. 
He began to feel his own strength and 



faith returning. You didn't run away 
just because you were licked. 

Robert Taylor took the next plane 
back to Hollywood — and fought it out. 

Since "Johnny Eager" Van Heflin's 
success has been sensational. But it 
wasn't this way the first time Van 
tried the movies as a contractee at 
RKO. He was King of the B's and dis- 
liked that studio almost as much as 
they disliked him. Van didn't have a 
close friend in Hollywood. Night after 
night he stayed at home, his only com- 
pany a colored servant who drove out 
here with him from the East and who 
used to stay up with Van and play 
cards! 

OUT of Ray Milland's past come 
stories that should warm the 
hearts of movie aspirants. At one time 
Ray was so broke he was kicked out 
of his apartment on Sunset Boulevard. 
Another time he slept for six months 
on a couch in a friend's living i-oom. 
In the midst of this haphazard exis- 
tence Ray fell in love. And when two 
nice people fall in love, they want to 
get married. 

Jobs came here and there. Nothing 
permanent presented itself. Ray de- 



cided it wasn't fair to his wife. He'd 
have to find a steady job. So he ap- 
plied to his father-in-law, then a 
successful Hollywood agent. Ray's 
first three days peddling flesh were 
about as inspiring as a trip on a mer- 
ry-go-round. The fourth day a friend 
called him up. An actor had just ar- 
rived from New York. He didn't have 
an agent. Ray tore over to meet — 
Cesar Romero, today one of his best 
friends. Cesar agreed to give Ray a 
week's try at representing him. Bright 
and early Ray was up and heading for 
Paramount. Just as he was going out 
the door, RKO called. They had a 
part for him and no one else would 
do. Poor Ray! He did need the 
money. Man and agent fought it out. 
Man won. 

Ray's part lasted a week. Luckily 
for Cesar, a part in a New York play 
called him back to Broadway. When 
Cesar eventually returned to Holly- 
wood, the first thing he did was send 
Ray a wire. Ray received it on the 
set at Paramount where he is now 
a star. "If it's okay with you," wired 
Cesar, "I'm changing agents because 
I eat, too!" 

The End 



The studio was embarrassed by what 
they saw in Anne Shirley's house 




Cesar Ronnero is now a friend of Ray 
Milland's; he once was his employer 



lUCUST, 1942 



What About You? 



(Continued from page 31) her mind 
about those bonds. Perhaps the picture 
of his going to war with an unquestion- 
ing faith in his country and himself and 
his future did it; perhaps it was the 
notion that by helping, even a little, to 
pay for munitions and surgical instru- 
ments and planes she would be helping 
to make Henry's job easier. Her motives 
are not really important. 

But Mary fascinates me. I'm excited 
by the strength she represents, the 
strength of all the people like her across 
America. She's not amazing just because 
she's buying war bonds; patriotism isn't 
anything odd, and there isn't much to 
shout about when someone with extra 
money invests it in his own war effort. 
That's something you just do because 
you're an American, because it makes 
sense. 

MARY'S not the only one of her kind. 
There was that wonderful, angry, 
intense old man living in a California 
old folks' haven when war broke out. 
He'd turned his savings into the institu- 
tion so he could spend the rest of his 
life there, but he did have one dollar 
left — or rather a check for one dollar 
from the United States Government. 
Seems he'd lent a pair of binoculars to 
the country during the first world war 
and the check was an honorarium he'd 
received when they sent back the binocu- 
lars. The glasses had long since been 
sold, but he figured he could at least 
spend the last dollar he had in the world 
to help the new fight. He had to take 
the check out of its frame, first, before 
he cashed it and bought four twenty- 
five-cent War Stamps. It had been just 
a curiosity until 1933; then it had be- 
come a treasure, because one of the sig- 
natures on it was that of Franklin Roose- 
velt, Assistant Secretary of the Navy. 

Consider a certain contract player at 
one of the larger studios. She got her 
first break about a year ago, but her 
salary was only $75 a week and that 
didn't nearly cover her expenses in a 
town like Hollywood. One of the reasons 
they hired her, though, was that she 
owned a gorgeous crop of long, naturally 
red hair that fell to her waist and could 
be done in all sorts of exotic styles. Or 
it could be left free, when she was cast 
as a peasant girl. 

She appeared one day wearing a ban- 
danna over her head and the fabulous 
tresses were gone. The studio hair- 
dresser clapped his hands over his eyes, 
howling in agony. "What on earth have 
you done to yourself?" he screamed. 



She told him. She'd heard the make- 
up department was frantic about the wig 
situation because it couldn't buy human 
hair from Europe after the war began, 
so she'd sold them hers for a whopping 
price. The money had gone to fill her 
studio quota of bonds. 

There's a nice Hollywood ending to 
this story. After the hairdresser had 
recovered enough to lift his comb, he 
accepted the challenge and designed a 
stunning coiffure for her; the studio 
couldn't use her in character parts any 
longer so she was given a romantic 
lead in one of the B productions. She 
was surprisingly good. Now the studio 
is talking a new contract. 

One of my neighbors is a middle-aged 
schoolteacher, a spinster. She's always 
been lonely, even a bit sour about lite; 
but she has managed to see herself 
through year after year of work because, 
by saving her money, going without lux- 
uries — even desserts for dinner — she has 
been able to take a vacation trip each 
summer. This year, she planned to go 
to Mexico, and one day not long ago she 
deposited the final ten dollars that com- 
pleted her fund. After she left the bank 
she stopped by a railroad agency, made 
reservations for the middle of June and 
then went to the home of an old school 
friend who is now the mother of four 
grown sons. Her visit was primarily 
one of sympathy, because three of her 
friend's sons were in the service and the 
fourth, the "baby," was about to be in- 
ducted. 

Our schoolteacher had brought along 
an extra handkerchief, but instead of a 
weeping woman she found her friend 
fully rationalized and fiercely proud of 
the gift she was making to her country. 
It was a week before the schoolteacher 
could convince herself that she should 
make some sacrifice, even if she had no 
sons to send away; then she cut her pro- 
posed trip in half. And it was another 
two weeks before she gave up Mexico 
entirely, in favor of American victory. 

The last I heard she'd joined a First- 
Aid class. She had discovered for the first 
time going to this class twice a week 
that she need be neither lonely nor un- 
wanted. She gave up her vacation and 
gained a whole new life for herself. 

I BELIEVE, and Photoplay-Movie Mir- 
' ror agrees with me, that these are the 
kind of people who ought to be talked 
about today. 

These are the stories to tell to remind 
us that we are invincible, that in our fan- 
tastic American way we will do not only 



Write to me and tell me about them. You'll probably be able to 
do this in about 250 words. Send your letters to me In core of 
Photoplay-Movie Mirror, 7751 Sunset Boulevard, Hollywood, California. 
The editors and I will choose the best one; it will be printed in this 
magazine and the writer will be awarded a $25 War Bond. 

We may even send a complimentary copy of the winning story to 
Mr. Hitler, so he can see what he's up against. 



the possible but the impossible too. 

Such stories there are in your town, 
across your street or in your clubhouse. 
Not all of them considerately prove, as 
in the case of my red-haired friend, that 
virtue often provides more than its own 
reward. But the people who find a way 
to buy war bonds are shrewd, hard- 
headed, realistic people who know the 
worth of money and are satisfied with 
the bargain. 'The hearty, crisp-voiced 
old grandma who spiritedly gathers up 
the collection of gold trinkets and rings 
she has treasured for years, mutters, 
"Why am I keeping all this junk any- 
way?" and sells them in order to buy 
bonds, is paying, as she would a long- 
due bill, for the good life she has had. 
And she is making an installment on 
the same bill for her grandchildren. The 
housewife who, noticing the nimiber of 
women being employed by the factory 
near her home, turns her back yard 
into a nursery and cares for the workers' 
babies for a nominal fee, is using her 
profits for bonds with the satisfied 
knowledge that she's securing her right 
to own a back yard and do with it as 
she pleases! 

The End 





68 



PHOTOPLAY combined with movie mirrof 



SHE MARRIED A DOCTOR 




' SHE: Dear, you look so threaten- 
ing— and we said we'd >/ejfr quarrel! 




^ HE: My dear, you have to plan 
especially for vitamin C. A food can 
be rich in other vitamins and have 
no C at all. It's scarce. 
SHE : And besides,! read that it's eas- 
ily lost in open cooking. What shall 
I ever do! 





HE: What's threatening is this 
lack of vitamin C. We need lots of 
it — and every day, because the body 
can't store it up. 

SHE: But I always }p\aa my meals for 
vitamins — 




* HE: Give us eight-ounce glasses 
of orange juice every morning, and 
we'll have all the vitamin C we need 
for the best of health — w///^ a good 
start on A, Bi and G, and calcium! 

SHE; And nothing in the world 
so good! Dear, you're wonderful! 



THESE SWEETS SAVE SUCARI In salads and 
desserts, or simply peeled and eaten, 
oranges satisfy the sweet tooth without 
added sugar. At home or soda fountain, 
fresh orange juice provides a quick and 
healthful ////. Mail the coupon for the 
free booklet of over 100 recipes. 



1 






From Natural Color Photograph 



GET YOUR VITAMINS THE 
NATURAL WAY 

Oranges make it the delicious 
way, tool In these times, the 
protective foods (fruits, 
vegetables, dairy products, 
eggs, meats and certain 
cereals) are more important 
than ever. Orangesareyour 
best practicalsource of vita- 
min C — and also give you 
valuable amounts of vita- 
mins A, Bi and G, calcium 
and other minerals. 




Sunkis 




SHOPPING LESS OREN THESE DAYS? Give your 
meals plenty of freshness by ordering 
oranges in larger quantities. T^^j'^jr^^oo*/ 
keepers. Those trademarked "Sunkist" are 
the finest from over 14,500 cooperating 
California growers. 

CopyrlBlit, 1942. CaUfornlo Fruit Growers ExchanBO 

Sunkist 

CALIFORNIA ORANGES 

Best for Juice 



r 



I 



Sunkist, Ocpt i'M^V., Sunkist Bld«. 
Los Angeles. Calif. 

Send FREE, "Sunkist Orange Recipes 
for Year-round Freshness." 

hJamt 



"Hedda Hopper's Hollywood"-Many CBS Stations-6:15 P.M., E.T.-Mon., Wed., Fri. 



I 



City- 




Para mount' i singing star Betty 
Hutton and song u riler Frank Locsser 

relax on the set oj "Happy-Co- 
Lucky." Their good taste in music 
put them on top in Hollywood. 

Pepsi-Cola's swell flavor is 
tops in good taste everywhere. 
At home or on the road — no 
matter where you are— you'll 
enjoy Pepsi-Cola's 1 2 full ounces, 
first sip to last. Only a nickel, 
too. Uncap a Pepsi-Cola today. 



^ I'epsi-Cola is made only by Pepsi-Cola Company, Long Island City, N. Y. Bottled locally by Authorized Bottlers from coast to coast. "iAt 



Want to Play Gin Rummy? 




Olivia de Havilland and George Brent burn the candle for the gin- 
rumnny cause, score themselves on an approved score card (right) 



SELF 


OPPONENT 


16 






7 


45 




30 






19 


12 




103 

1 00 — game 
80 — 4 boxes 


26 

40—2 boxes 


283 winner's 
total 
— 66 opponent's 
total 


66 — opponent's 
total 


2 1 7 — final score 





^Continued from page 43) then figures 
the value of his remaining unmatched 
cards. Suppose this value is 14, and 
suppose his opponent had knocked with 
8, then the opponent would win the hand 
with a score of 6 points, or the difference 
between 14 and 8. 

If one player knocks and his opponent 
ends up with the same or smaller count, 
the opponent receives the difference be- 
tween the two scores, if any, plus a 10- 
point bonus. K a player knocks without 



any remaining points at all, however (the 
way Ilona Massey did it in the picture 
on page 43), he is 100 percent safe; and in 
addition wins 20 points for "Gin," plus 
his opponent's score. Even if the op- 
ponent also ends up with zero, the other 
player still wins with 20 points exactly 
because he knocked first. 

The winner of the hand deals the next, 
this continuing until one player reaches 
100 points or more. At this point, the 
game is over and the total score is 



figured out. Here's the way to do it 

a) Winner receives the difference in 
the totaled scores of the two players. 
(The player who first scores 100 
points is given credit for any points 
he scores in excess of 100.) 

b) Winner receives a bonus of 100 
points for "game"; if opponent has 
not scored at all, this bonus is 
double. 

c) Each player receives 20 points for 
each hand (or "box") he has won. 



Little Miss Dynamite 



(Continued from page 37) he said, "you 
shouldn't have come here. If you're going 
to be a star — and I have a hunch you are 
— we'll have to get used to the column- 
ists." 

"I never will," she blazed. "I don't want 
to. . . ." 

TWENTY-FOUR hours Paramount had 
been searching for her. They had tele- 
phoned her house a hundred times. The 
private detectives they had put on her 
trail had just reported that her car had 
gone over a mountain side. 

"You're holding up production," they 
said to her. "You've jeopardized an in- 
vestment of hundreds of thousands of 
dollars because of a — a whim! We can't 
have people who do such things!" 

"I'm not the girl for you then," she 
told them. "You'd better replace me 
with someone who doesn't care what 
happens to her private life as long as 
she gets ahead. I didn't ask to work for 
you, remember. You sent for me. I'll 
quit right away!" 

That changed things. It was agreed 
Veronica would return as soon as she 
was able and, in the meantime, they 
would shoot the scenes in which she 
didn't appear. 

And so it was settled — Veronica's 
way. All her life she's been a defi- 
nite human being with her own ideas 
about what is and what isn't important 
and ready to protect the things she 
counts important at any cost. 

She was born at Lake Placid, New 
Vork, on November 14, 1919, almost 
twenty-three years ago, and christened 
Constance Keane. Her father was a 
newspaper artist. Writers and artists, 
editors and reporters came home with 
ler father for long week ends. Veronica 
f/as hred on these people's realistic and 
;osmopolitan point of view. Her parents, 
aecause of their extreme youth and their 
nclination, were, first of all, her friends. 
3he was never treated as a child. 

Ten years — between the ages of five 
md fifteen — she was a pupil at the 
Vlontreal Convent of the Order of the 
iisters of Notre Dame. 
A "Life at the convent was more tradi- 
ional than comfortable," she says. "We 
•lid everything the way it had been done 
here for two hundred years. The con- 
''ent rooms were large and gloomy and 
1 high cement wall topped with jagged 
(lass surrounded the grounds. We chil- 
-iren wore black shoes and black cotton 
tockings and dresses with long pleated 
- kirts and high necks and long sleeves. 
, n our rooms we had water basins and 
)itchers of cold water. Afternoons we 
valked out two by two, with nuns in 
, ttendance." 

J OLIDAYS, though, were happy times. 

' Veronica skiied over Placid's white 
lills and skated on the frosty lake. She 
vent, too, with her mother and father to 
/liami. "They had a house there. They 
v^ere in residence when the 1929 hurri- 
ane tore at Florida as if it meant to 
"'ull the peninsula apart. 

"It's been two weeks since we've had 
ae hurricane warning," said Mr. Keane 
ne morning. "I think I'll take down the 
urricane shutters and unleash the car." 

Veronica, nine, looked worried. "I 
•ouldn't. Daddy!" 

"Why not?" asked her father. "Why 
ot?" asked her mother. 
"Well," she said "the Indians are gone 
om the Everglades. That means they 
aw a bloom on the sol grass. And that's 
sure sign." 

"Scientists insist the sol grass never 
ucusT, 1942 



blooms," said Mr. Keane, picking up his 
tools. "They say the bloom on the 
sol grass is purely an Indian fancy." 

Scarcely had the last shutter been 
stowed in the garage when the wind 
began to blow and the rain began to 
fall. They sat in the living room and 
listened to the wind scream around the 
chimney, tear the roof tiles away, rattle 
doors and windows. A cocoanut crashed 
through the window and sent glass splin- 
tering all over the floor. The ceiling 
began to sag and darken, but they didn't 
dare go outside to see how much of the 
roof had held. Then came a horrible 
grinding noise. . . . 

They couldn't hear each other's voices 
for the howl of the wind and the down- 
pour of the rain. At last there was a 
lull. "Run for it," Mr. Keane shouted. 
"Wrap your coats around you and make 
for the nearest house that's still standing. 
That grinding noise you heard a few 
minutes ago was this house leaving its 
mooring." 

"I believe Indians more than I do 
scientists," Veronica said, gathering her 
coat around her. 

"You may have something there," her 
father agreed. 

THEY rebuilt their house and life for 
' the next six years was pleasantly un- 
eventful. Then came 1934 when their 
world crashed. The collapse of several 
insurance companies left Mr. Keane a 
poor man. It wasn't long before his health, 
threatened for years, collapsed too. 

They weren't grim about it. They 
weren't a grim family. They had a the- 
ory that very often ill fortune handled 
constructively can be turned into good 
fortune. 

"We'll go to Miami and lie in the sun 
until Dad grows strong again," Mrs. 
Keane said. 

When a girl with smoky blue eyes, 
gray-smudged, and long golden hair, 
and curves that have warm restraint, 
and a low voice lies on a beach in the 
sun and turns a pale golden tan it's in- 
evitable that young men will take to 
lying in the sun on that beach too. And 
when young men lie on the beach in the 
sun it's inevitable girls will come along 
and join them, ever so casually. Veronica, 
in no time at all, found herself with a 
gang. 

■THEY were young and restless and 
' apprehensive, the boys and girls in 
Veronica's gang. They had come out of 
school eager to get jobs and supplement 
diminishing family fortunes and had 
found there was no place in the world 
for them. Nights they drove out in their 
cars and tried to forget. 

One evening a crowd, including Mr. 
and Mrs. Keane, had supper on the beach. 
They broiled steaks over a charcoal fire 
and roasted corn. Then cigarettes and 
coffee went the rounds. 

"Mrs. Keane," said one of the boys, 
"on behalf of the crowd I'd like to ask 
you a personal question. What have you 
threatened to do with your daughter 
if she misbehaves. . . ." 

Mrs. Keane laughed. "When she was 
small I did my best to teach her the 
difference between right and wrong. 
Now she's on her own. Now she's the 
one who'll be repaid or suffer for what- 
ever she does or doesn't do." 

Soon enough Steve Hannigan discov- 
ered Veronica. Steve Hannigan earns 
a small fortune every year for publicizing 
the Florida climate. He does this, largely, 
by placing photographs of pretty girls 
on Florida beaches in newspapers all 



I WORK IN A 
BOMBER FACTOR/... 

/ 





I can't afford 

TO SLOW UP A 
S/NGLE MINUTE' 



NO MATTER 
WHAT DAY OF 
THE MONTH (T/5, 
SO "BEUEVE 
ME. . . 






I NEED MORE 
CO/^TOKT NOW 
TflAN EVER. 
AND WW-EN I 
WEARD — 

THAT 3 OUT OF 
EVERY 4 WOMEN 
VOTED MODESS 
60FTER- 1 GOT 
ABOX QUICK! 




GLAD I DID? 
you BET i " 



LOOKING FOR EXTRA COMFORTtTryModesst 

You'll soon see why 3 out of every 4 women 
in a nationwide test voted Modess softer than 
the napkin they'd been buyingi 

*Get the full details of the Softness Test ! Write 
The Personal Products Corp., Milltown, N. J. 

$ out of every 4 voted 

Modess softer 

LOOK! GIRLS, IT'S T«E NEW^^^<^/>BOXf 



ATLASTABCK 
THAT DOESN'T 
SHOUT'SANITAUy 

napkins'! 




All that thowt on your closet shelf is a charm- 
ing print pattern. Only Modess has it! And 
Modess gives you the Boudoir Box for both Reg- 
ular and Junior size napkins. Still another rea9on 
to buy Modess — quick I 



71 



L 



over the country. 

Veronica went to work posing. 

"This would be a good time to drive 
to California," Mr. Keane said at break- 
fast one morning. "It wouldn't be too 
hot or cold crossing the prairie or the 
mountains or the desert." 

"Daddy!" cried Veronica and Mrs. 
Keane. 

In the same hour they were packing. 
The next morning they were on their 
way. Three weeks later they were living 
in a little studio apartment in Beverly 
Hills. 

Mr. Keane 's health improved in Cali- 
fornia; they decided to stay. 

"I soon got bored," Veronica says, 
"walking around the streets, pretty as 
they were, and twiddling my thumbs. 
So one day I went to RKO with a girl I 
had met who worked as an extra." 

At RKO she saw girls who were satis- 
fied to play bits and dream of the day a 
director about to cast a big picture would 
look towards them and scream, "Where 
have you been all my life!" She was 
harder headed than these girls. She 
decided the thing to do was go to school 
or work in a stock company and prepare 
herself for acting. 

It was with the Bliss Hayden Players 
that Veronica served her apprenticeship. 
She played weary women twice her age 
and giggling schoolgirls. She worked 
hard and long. She learned how to use 
her voice. She got her dramatic bearings. 
Then she went back to the studios. 

HER Bliss Hayden training gave her a 
quality. She stood out. Soon she 
was playing small parts. Soon she was 
in the $66.50 a week class, but she 
really didn't get ahead too fast. Di- 
rectors were forever insisting she curl 
her hair and then, seeing her with a 
modish coiffure, casting her in simpering 
ingenue roles. 

One day she was chosen for a picture 
by Busby Berkeley. "I suppose," she 
told him, "that you want me to wear 
my hair up in curls too." She's not too 
gracious or politic when her patience 
runs low. 

"Heck, no!" he said. "Curl your hair 
and you'll look like everybody else. I 
chose you because you look different." 

Freddie Wilcox saw her on the Ber- 
keley set, made a test of her, showed it 
to the William Morris office. They're big 
agents. They liked it. They thought, too, 
that Veronica had something and agreed 
to handle her. 

John Detlie, a young set designer, was 
one of the men who turned to look at 
Veronica a second time as she walked 
briskly along the studio streets, her long 
taffy hair flying. But, together with the 
rest, he might have been part of the 
scenery for all the attention she gave him. 

He got her address finally from casting 
and sent her flowers and a note saying 
he would telephone that evening. 

"You take the call,'' Veronica said to 
her mother. Many times, while Veronica 
and her father had stuffed pillows into 
their mouths to stifle their hysterical 
laughter, Mrs. Keane had given some 
man she found too smooth or pressing 
such a freeze that he never had called 
again. 

But John Detlie got no freeze. 

"Hey there," called Mr. Keane, after 
listening to the opyening of the phone con- 
versation, "remember you're an old mar- 
ried woman!" 

"You and I will never be grandpar- 
ents," Mrs. Keane said, turning away 
from the phone, "if young men as charm- 
ing as this John Detlie can't interest our 
daughter ... I think that would be 
lovely," she spoke into the receiver again. 

72 



"I should think my daughter would, too. 
Tuesday at one for luncheon. . . ." 

Tuesday came and so did John Detlie. 
"She'll be out in a minute — unless 
she's completely crazy," Mrs. Keane told 
him as she opened the door. "Right now 
she's spying on you through the crack in 
that door down the hall. She wouldn't 
trust my judgment." 

They went to luncheon at the Beverly 
Brown Derby. Mrs. Keane went too, on 
John's urgent invitation. 

U OWEVER, Mrs. Keane didn't drive to 
n Ocean Park with them practically 
every night that week and ride on the 
merry-go-round and consume big candy 
apples and then drive home over hills 
soft in the starlight. She didn't go swim- 
ming with them the Sunday following. 
She didn't swing with them in the public 
park, of all places. 

She sat home with her husband and 
talked of the new warmth in Veronica's 
voice and Veronica's eyes and of all the 
fresh, clean things John Detlie's smile 
made you think about. "I always knew 
when Veronica cared she would care 




Pinned down for victory: Frances Gif- 
ford of Paramount's "American Em- 
pire," wears the emblem of the Medi- 
cal and Surgical Relief Committee 
of America. Price $1. Write Com- 
mittee at 420 Lexington Ave., N. Y. C. 

suddenly and tremendously — like this," 
she told her husband. 

Saturday morning, a few weeks later, 
while Veronica was washing her hair for 
a date with Johnny, the phone rang. 
She answered it with a towel wrapped 
high about her head. 

"Miss Keane," said a voice, "this is 
Arthur Hornblow's secretary at Para- 
mount calling. How tall are you please?" 

"Five feet, one inch," Veronica said. 

"Thank you," said the voice. '"Good- 
by." 

Fifteen minutes later, while Veronica 
was still explaining to her parents that 
the movies were a madhouse, Arthur 
Hornblow himself telephoned. 

"Will you come over, please. Miss 
Keane,"' he said, "as fast as you can?" 

She wrapped a turban around her 
dripping hair and ran for her car. 

The Hornblow office was jammed with 
all kinds of people and apparently they 
had gathered there - to look her over. 

"We've just seen the test they made 
of you over at Metro," Arthur Hornblow 
said. 

"Oh, really," said Veronica. 
"Yes," said Arthur Hornblow, "and 
we want you to take this script home and 



read it over the week end." 

A girl thrust the script of "I Wanted 
Wings" into her hand. 

"I wonder," she said to John that night, 
"how many girls in this town are reading 
scripts of 'I Wanted Wings' over thi., 
week end- -and hoping?" 

They were in John's car headed for a 
little restaurant where you dine on a 
terrace that overlooks the Pacific ana 
the lights of the little towns along the 
crescent shore, where candles on th<- 
tables flutter in the soft breeze and tht 
darkness is sweet with jasmine. 

The next morning they went to the 
beach to lie all day in the sun and dive I 
into the breakers and stop for an early j 
dinner on the way home and talk and 
talk, always unaware there was «m;. 
world beyond each other's eyes. 

"What's the part like — now that you've 
read the script?" Johnny asked. 

"It's the girl's part," she said incred- 
ulously. "If I get it they'll call me a 
Hollywood Cinderella. Nobody will re- 
member all the pictures in which I played 
sweet ingenues — which is just as weU! 
And all the work and s^udy I've done and 
the training I had with the Bliss Hayden 
Theater will be forgotten. But of course 
I won't get it — it's ridiculous even to 
think about it." 

"I'm glad you haven't gone overboard 
about it," he said gently. "You ge: 
your heart broken if you go overbold 
in this town." 

She said, "You get your heart broker. 
if you go overboard — period!" 

"You won't. I promise," he said. 

She didn't know what to say then. 
She didn't want to take him more seri- 
ously than he meant to be taken, per- 
haps; say, "I'd love to marry you Johnn\ 
And I don't believe in long engagements. ' 

So she said instead, "They never would 
have considered me for such a hard- 
boiled role if I'd made that test with my 
hair curled. I look so sweet and simple 
with my hair curled." 

"You're terribly sweet," he said, "but 
no one could accuse you of being simple. ' 

"Thanks, twice," she said. 

She found a nurse and doctor and 
priest with her father when she got 
home. 

"His lung collapsed," the doctor ex- 
plained. "It's pressing against his hear;, 
unfortunately, and he's in great pain. 
Your mother's hysterical from the shock 
of the attack. We've put her to bed in 
the other room. I'm glad you've come. 
He's been asking for you. And above 
everything else we must keep him haiqp} 
and quiet." 

All night Veronica worked with tht 
nurse. Her father's bed had to be 
changed again and again. He had to have 
glucose and morphine injections and he 
was too weak to bend his arm. He had 
to be reassured. So did her mother. 

She tried to give her mother some ol 
her strength and some of her courage.' 
"Daddy's going to get well,'' she said.^ 
"You must believe that, you just 
must. . . ." 

Five o'clock in the morning her fathei 
fell asleep. 

"You lie down too." the nurse told her 
"I'll call you when he wakes." 

She called her at seven. At ten Para- 
mount telephoned. 

"You're due here for a wardrobe fittirg 
— right now!" said the voice. "We're 
testing you for 'I Wanted Wings' early 
this afternoon." f 



ThenomenaX is the word for ichc.'s 
about to happen to Veronica Lake. W'c i 
jar the sensational conclusion oj her 
life story in I 

September Photoplay-Movie Mirrob f 



PHOTOPL.w combijied with movie mi 






NN HARE, beautiful young 
daughter of Mr. aiul Mrs. Etnlen Spencer 
Hare of Park Avenue, New York. Her 
engagement to Walter Wooster Richard of 
New York and Long Island was announced 
a few months after her debut. Like Wooster, 
Ann is Navy-minded, works hard with 
"Bundles for Bluejackets" and the "Navy 
Relief Society." One of the season's love- 
liest debutantes, she made her bow in 
Philadelphia, where her mother's family 
has long been socially prominent. 



ADORABLY YOUNG 
AND LOVELY— There's 
a rare-orchid charm about 
Ann's blonde young beauty, 
and her exquisite skin has 

uminous satin-smooth 
look. Of her complexion 
care Ann says, "I just use 
Pond s Cold Cream rvery 
day. Pond's is so light and 
silky my skin just loves it 
— and it's perfectly grand 
for cleansing." 

(right) Ann and Wooster 
before he was called to 
active Navy duty. 



ANN'S RING is unusually lovely — 
a large niarquise-cut diamond, that 
reflects light with sparkling radiance. 
A baguette diamond is set on each 
side of the brilliant solitaire. 




Shejs Love^I She uses Poiro's I 



m 



it's no accident so many lovely ENGAGED GIRLS USE POND'S 



This is Ann Hares simple daily skin care: 
She slips Pond's Cold Cream all over her 
face and throat. She pats with deft little 
pats to soften and release dirt and make-up 
— then tissues off well. 

She rinses with more Pond's— for extra 
softening and cleansing. Tissues it off again. 

Do this yourself— ecerv night, for day- 
time cleanups, too. You'll see why society 
leaders like Mrs. John Roosevelt, Mrs. 
Ernest Biddle are so devoted to Pond's 
Cold Cream. Why more women and girls 
everywhere use Pond's than any other lace 
cream. Buy a jar today — at your favorite 
beauty counter. Five popular-priced sizes— 
the most economical — the lovely big jars. 



llCUST, 1942 



73 



How Clark Gable Is Conquering Loneliness 



(Continued jrom page 34) tant human 
being in life to him and there wasn't one 
thing he could do about it, except take it. 

His instinctive reaction, therefore, 
when he had finally got through the fu- 
nerals of Carole and her mother and 
Otto, was to join the Army. He told his 
closest friends, Howard Strickling, head 
of M-G-M's publicity department, Al 
Monesco, the racing driver, and Harry 
Fleishman, his favorite hunting com- 
panion, that he couldn't possibly face a 
camera again. Reality made play-acting 
impossible. The world was a horrible 
place, with America a little more than 
its first month in the war, and all he 
wanted was direct action, a chance to 
take a gun and get out and get his 
private quota of Japanese soldiers. 

I T may have been Strickling who, know- 
' ing that work would eventually prove 
an anodyne, murmured at that moment 
that enlisting was a wonderful thing but 
could Clark wait long enough to finish 
the picture on which he had been work- 
ing prior to the tragedy. 

"I'll go back just long enough to finish 
this one picture," he finally said to Strick. 
"You'll have to get them to change the 
title, however. I couldn't walk on a set 
with those words before me."" 

The title had been "Somewhere I'll 
Find You." They changed it to "Red 
Light." 

The nerves of the entire cast and crew 
were taut as harp strings the first morn- 
ing Gable returned to work. But if you 
didn't look too closely and ignored his 
thinness, he was just the usual Clark, 
with the same flashing smile, the usual 
jaunty wisecracks. He kept his smile on 
all day, too, and never once blew up in 
a scene. The only way he deviated from 
his normal routine was at lunchtime. His 
custom had always been either to eat at 
the big table in the main M-G-M dining 
room at which the directors and writers 
gather, or to go to the other side of the 
dining room and sit on a high stool at the 
counter where the crew eats. This first 
day he retired to his dressing room and 
ate alone. That is still true. He hasn't 
yet returned to the commissary for a 
meal. 

THAT night Al Monesco went home to 
' the Encino house with him. "I've got 
to get out of here," Clark said. "Sunday 
I'll go look for a new place." 

"You bet," said Al. "I'll help you." He 
did help, too. On Sunday he drove Clark 
all over the San Fernando Valley and 
every place they looked at, he'd point 
out the advantages. He told Clark there 
would never be a thing on any of these 
ranches to remind him of Carole, never 
a stable where they had hung up their 
tack after their long rides, never a barn 
where he'd remember the first cow he'd 
bought, which hadn't given enough milk, 
and how, when he'd sent the animal back 
to its original owner, Carole had said it 
must be the most humiliated cow in all 
California. He kept pointing out these 
advantages. Gable finally gave him a 
look from beneath those brows of his. 

"So okay," he said, very sharply. "So, 
turn around and I'm not leaving the old 
house." 

It was the following Monday that Clark 
sent for Larry Barbiere, the publicity 
man who had first known the truth about 
Carole's death, and asked him to lunch 
with him. Larry went over to the dress- 
ing room, half frightened by the request, 
more frightened when Clark asked him 
to retell every detail of that first night. 
But Larry did talk and then Clark began 

74 



talking back to him, asking and answer- 
ing questions, and the lunch hour flew 
by, and the early afternoon. The set 
waited, but no one disturbed them. 

It got to be three o'clock and Larry 
was thinking that there would be no 
more shooting that day, when suddenly 
Gable became conscious of the time. He 
rushed out to the stage and quickly went 
into a scene. Apparently, that talk about 
Carole had worked some release and that 
afternoon for the first time since the 
tragedy his acting regained its old suav- 
ity. The scenes taken then were actually 
the first Gable scenes that they printed. 

Things were much easier after that 
until the day that Carole's will was pro- 
bated. Except for a trust fund for her 
brother, Carole had left all her money 
to this man she had loved like a god. 
He came back to the studio in one of 
his moods of terrific depression. Mag- 
nificently concealed though it is, there 
has always been this sombre mood deep 
within Gable, which is the heritage 
of his Dutch blood. That night he was 




Clark remembers Carole's laughter, 
her jokes, that funny little story 
about the "humiliated" cow 



in one of those lows and when, a day 
or so later, the battle of Macassar Straits 
began going not so well for us, he first 
began talking of going into the Navy. 

It was then that his devoted gang really 
gave it to him. "You know how old you 
are?" he was asked. He thundered at 
them that he perfectly well knew. He 
was forty-one and so what. They re- 
torted by saying the average age of Navy 
recruits was nineteen, the average Army 
recruiting age a year or so older. In 
other words, they said brutally, he'd be 
surrounded by boys young enough to be 
his sons and did he think that he could 
hold his own physically against them? 

IT is a strange phenomenon, but any 
' psychologist will tell you that the 
greatest sense of grief from a death is 
frequently felt three months after the 
event. Gable hit this period in mid-April. 
It was during it that a Hollywood mem- 
ber of the Signal Corps talked to him 
about the possibility of his getting a com- 
mission in this branch of the service. 
Gable brooded on this in silence for days, 
finally announced that he now felt he 
should stick to acting unless Washington 



definitely called him for some specific 
war work. Actually Washington had al- 
ready let it be known that what it most 
wanted of Gable was for him to keep on 
acting. 

M-G-M quickly submitted a trio of 
scripts to Gable for his next picture. 
Interestingly, the one he chose to do 
first was one dealing with life-after- 
death, the first essay he has ever made 
into the supernatural. After that, he goes 
into a highly romantic, a most poetic 
role in "The Sun Is My Undoing." 

But the greatest proof of Gable's 
courageous snap-back is the fact that 
when Metro, who had been sold on the 
title "Somewhere I'll Find You," ap- 
proached him recently with the idea of 
releasing his present picture under that 
original title instead of the second-choice 
substitute, "Red Light," he was not too 
disturbed. You may, after all, see Clark 
Gable playing in "Somewhere I'll Find 
You" and you will know then that he 
has made himself strong enough so that 
he can no longer be hurt by a few un- 
important words. 

Meanwhile he has seen to it that every 
fan letter of sympathy that reached him— 
and they came in the literal hundreds of 
thousands — has been answered and he 
has begun to go out a little to the houses 
of those friends who understand him and 
where he can feel relaxed. He now goes 
for dinner with Howard Strickling and 
his vivid wife, Gail, or with the Walter 
Langs, where he laughs at the gay wit 
of Mrs. Lang who used to be Fieldsie, 
Carole's closest friend and confidante, or 
with Phil and Leila Hyams Berg. Phil, 
who is his agent, and Leila whom he's 
known ever since the first day he walked 
on the Metro lot. 

One thing the Government has promised 
to let him do (and he is immensely eager 
to get at it) and that is to make a series 
of short subjects to be shown to the 
service lads. What they will be on. when 
and where they will be made, he him- 
self doesn't know and he isn't asking. He 
just wants to do them. As for Bond 
buying, the day after we went into the 
war, he bought the full quota that any 
individual is entitled to buy in any one 
year. He got his 1941 quota on Decem- 
ber 8, his 1942 quota on the second of 
January. He's got standing orders at his 
bank to buy the top limit for him if at 
any time this ruling may change. 

Clark loved Carole with the passion 
that only a strong man of temperament, 
intelligence and imagination can love the 
woman who inspires the best in him 
She was a superior, beautiful, laughing, 
generous person, this Carole, and Clark 
knows he can never replace her image 
within his heart. 

Yet he is, for all that gleam in his eye. 
for all that persuasive smile of his, a 
domestic man, who loves his home and 
thus inevitably, I believe, there will be 
another chapter to his life story. And 
like all people who triumph over the 
events that could have defeated them, 
he's coming out of this stronger than 
ever. 

Personally I like to think about a storj" 
he told me years ago, about how. when ( 
he was first learning to act. he had to i 
learn to smile. It wasn't natural to him. f 
until one day somebody told hiin that 
only the brave smile well. 

He's smiling now, carefully and delib- 
erately, and he intends to keep on smil- 
ing. It's an attitude to keep remembering 
these days of 1942. 

The End. 

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APPLY 2 COATS FOR THAT PROFESSIONAL LOOK AND LONGER WEAR 

75 



What Hollywood Thinks of Gory Cooper 



(Continued from page 39) go out to the 
location with us. We were expected on 
the set about ten. 

"Gary didn't show up until ten-thirty. 
The driver tried to hurry him into the 
car. But Cooper couldn't be stampeded 
and wanted to know, "Where do we have 
breakfast?' And then, with everybody 
hopping around trying to get him started, 
he had a nice quiet breakfast of pretzels 
and near beer. 

"It was twelve when we arrived at the 
field and Gary was through with the 
picture by three and on the train for 
Hollywood at seven. Figuring he was 
all washed up in pictures, he said, "This 
is the shortest movie career a guy ever 
had for so long a trip.' 

"But Gary's career was far from over. 
His remarkable performance in the bit 
in 'Wings' so impressed the front office 
that when I got back to Hollywood he 
was playing opposite Clara Bow in 
'Children Of Divorce.' 

"There isn't a tough guy in Hollywood 
as immovable as old Long Tack, once he 
gets a notion. Yet he's always open to 
suggestions. You don't have to be im- 
portant to get his ear. He'll thank a bit 
player or an extra for a tip any day." 

lEFTY O'DOUL, famous big league ball 
^ player hired to coach Gary for his Lou 
Gehrig role in "Pride Of The Yankees," 
was eager to give his opinion 

Lefty says: "I think Gary Cooper is the 
most human human being I've ever 
known. In my baseball career I've met 
a lot of people. But not one of them was 
as thoroughly democratic as this lad. 
Unless it was Lou Gehrig — whom Gary 
is so very much like. 

"I went up to Sun Valley with Cooper. 
He wanted to get away to a spot where 
we could have a good workout. But that 
guy can't get away from his popularity, 
no matter where he goes. 

"One day a bunch of soldiers showed 
up. One of them, a sergeant, came over 
to Gary and saluted. 'Regards from one 
sergeant to another, Sergeant York!' 

"Gary nearly brained himself trying 
to salute with a bat in his hand. That 
led to the soldier's asking Cooper if he 
would pose for a picture with him. Gary 



did. With him and with every other fel- 
low in the group. 

"Cooper liked to chew the fat with 
Spike, the fellow who had charge of the 
horses at the hotel. He and Gary used 
to work on Western pictures together in 
Hollywood. They'd talk about horses, 
hunting and guns. Cooper is crazy about 
guns. I don't guess I can teach Gary to 
field or bat like Lou Gehrig, but I'll 
gamble that the real Sergeant York 
would have a heck of a time outshooting 
this long-geared guy from Montana." 

Gary's mother, Mrs. Charles Cooper, 
volunteered this: 

"When he was a boy Frank (Gary's 
real name is Frank James Cooper) 
would go off into the hills, walking or 
shooting, with the Indian boys. We lived 
on a ranch forty miles northwest of 
Helena and the Indians who worked for 
us had children about Gary's age. Those 
Indians never talked much — and Frank 
would spend hours with them without 
speaking a word. 

"Gary is miserable if he attracts at- 
tention. So he does his charity work 
by proxy — through me. I belong to more 
charitable organizations than any other 
woman out here. Because I'm acting for 
Gary, too. He never speaks of the chari- 
ties, except to ask me, jokingly, how my 
naughty girls are. Fm interested in the 
Minnie Barton Home for wayward girls. 
You know Gary has his own quiet sense 
of humor." 

So Boots Dunlap says. Boots used to 
work with him in Yellowstone National 
Park, long before Gary dreamed of going 
into pictures. Boots is a special police 
officer at Warner Brothers studio and 
still sees quite a lot of his old pal. 

"Frank Cooper and I," says Boots, 
"were gear-jammers together in the 
park. We drove busses and spieled for 
the tourists. Frank worked there during 
the summer while he was at Grinnell 
and we called him 'The Sheik.' 

"Frank was a fine driver, but not much 
of a spieler. One fellow claimed a moun- 
tain was a better talker than the string 
bean that drove them — because you could 
at least get an echo back from a moun- 
tain. 

"One pair of schoolteachers certainly 




Just to prove a breath-taking point in the story beginning on page 56. Noted 
Photoplay-Movie Mirror's Hyman Fink: "I almost got a picture of Howard 
Hughes the other night. Caught him with Lano Turner at the Little Troc. As soon 
OS I walked in Hughes jumped up, took my camera away from me and said, 'Here, 
you sit down next to Lano. You don't get my picture, but I'm going to take o 
picture of you!' And he did. He refused to go near the table till I left the 
place!" Left to right: Lana's mother, Ben Cole, her manager, Lana and Fink 



got their money's worth, though. They 
came back all excited about the fascinat- 
ing young fellow that drove them. This 
young fellow had told them about being 
born near Cody, but never getting into 
town until he was seventeen. "When we 
asked them who the driver was they 
pointed to Frank — leaning up against a 
post and chewing a straw. He never 
cracked a smile and looked as innocent 
as a prairie dog, though he'd gorie to 
school in England and managed to get 
around the country pretty well. He said 
the teachers had roweled him till he had 
to tell 'em something. And when Frank 
decided to tell — he told." 

lOEL McCREA, one of Gary's closest 
•J friends, says the most satisfying thing 
about Gary is the fact that he never 
changes but is always the same esisy- 
going, friendly, understanding pal. 

At the time we asked Joel to tell us 
about Gary for this story, however, he 
had a grievance against Cooper. He 
complained that "Long Tack" wasn't liv- 
ing up to his end of a bargain. 

It seems that a long time ago Goldwyn 
studio made a cutaway coat for Joel to 
wear in a picture. Soon thereafter, Gary 
had need for such a coat and bor- 
rowed it. 

As Joel and Gary are as alike physi- 
cally as they are mentally, it was a per- 
fect fit. So from that time on either of 
the two who had use for the coat wore it. 

Then Joel had need of it in "The Palm 
Beach Story." But when he called for the 
coat he was told Gary had ruined it 
during the making of "Ball Of Fire." 
So Joel was being fitted for a new coat — 
and claimed that Gary ought to be at the 
tailor's instead of him. 

But what Joel didn't know was how 
his coat happened to be ruined. Irving 
Fine, the publicity unit man for the pic- 
ture "Ball Of Fire," told that. 

"One day we were shooting on location, 
up at Sherwood Forest. So Gary took 
a rifle- to get in a little hunting. We 
used Gary until late afternoon. Ther 
he grabbed his gun and set off — dresspc 
in the cutaway coat and a high hat. 

"In an hour or so he was back again- 
looking stranger than ever. His hat wa.- 
gone and his coat was in shreds. Whik 
he was prowling through the woods he 
somehow knocked a hornets' nest ou' 
of a tree. He knew he could lose tht 
stinging pests by running through 
bushes. In doing that he also lost mos" 
of the cutaway coat. Fortunately, wt 
didn't need it any more in the picture. 

Unfortunately, Joel McCrea did! 

"j GOT a squawk about him," volun- 
' teered the man who cleans up around 
the stage. "You ought to see his dressing 
room since he's taken up carving. I have 
to wade in shavings up to my knees." 

"Yeah — you got a squawk." jeered 
Irving Sindler. Goldwyn property mar. 
"Who's the guy that's been getting the 
carpenters to give Coop the best wood" 
You have. Say. you'd clean up shavings 
up to your neck and like it, if Coop did 
the whittling." 

The other's grin indicated Sindler 
wasn't far off. 

""I'll tell you this." Sindler continued. 
"'Coop doesn't make any fuss about wha'. 
he's going to do for you, but he always 
delivers. And all the while he's so un- 
assuming." 

Unassuming is about as good a one- 
word description as can be written of 
Gary Cooper. And it is also the reaso:". 
for tiis popularitv with all ages and sexes. 
The End 



76 



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77 



Highroad to Hollywood 



(Continued jrom page 52) have luncheon 
with Miss Marie, the fashion editor. She 
wants to talk about stills of you for the 
magazines." . 

Julie assured Sophie she would be in 
the commissary by one. And then she 
dared to mention something very much 
upon her mind. 

"Do you suppose there's any chance, 
she began, "for me to see some Holly- 
wood houses? I promised a ... a con- 
tractor friend back home that I'd tell him 
about them," she explained. 

"If you mean the red-haired contractor 
who bade you farewell with an orchid," 
Sophie smiled, "Bettina told me all about 
it. We'll see what we can cook up." 

She reached for her telephone and 
called the Fashion Department. 

"Miss Marie," she was presently say- 
ing, "I've just asked Julie Burnette to 
meet you in the commissary at one 
o'clock. And don't you think it would 
lend a nice note to her fashion shots if 
they were made in the homes of the 
stars? Say on Miss de Havilland's sun 
deck and in Jim Cagney's playroom and 
beside Bette Davis's oval swimming pool? 
. . . You'll arrange it? Good." 

"That should take care of your con- 
tractor," Sophie remarked, as she re- 
placed the receiver . . . "Now run along 
to the Wardrobe Department." 

Julie made her way across the little 
park with its fountain and vivid flower 
beds, thinking back to less than one week 
ago when she had been just a fifteen- 
dollar-a-week theater usher in Glad- 
stone, Ohio, with Hollywood and all its 
glamour only something to dream about! 

I T may have been the thrill of her ward- 
I robe fitting, or it may have been that 
she wasn't yet quite sure of her direc- 
tions about the lot, but after she had 
finished fitting costumes and was on her 
way to meet Sophie and Miss Marie in 
the commissary, she found herself hope- 
lessly lost, found herself, in fact, outside 
the studio gates rather than inside.' 

With twenty minutes to spare she was 
about to locate the main entrance, there 
to talk her way in again, when she heard 
her name excitedly shouted out from 
across the street. Scott Hendricks! 

The girls were as overjoyed to see 
each other as though they had been 
friends for a lifetime! Indeed it seemed 
(dl of a lifetime since they had bidden 
each other good-by in Chicago. 

Scott had arrived this morning and had 
gone directly to Castle Argyle where she 
had found the key to Apartment 706, left 
for her by Julie. She had been in Holly- 
wood but a brief four hours, but had 
already found out enough about the 
problems attendant upon becoming an 
extra in pictures, to feel that it would 
be simple, by comparison, to try becoming 
Grand Mogul of Siam! 

The first shock, so Scott relayed, had 
been her discovery that in order to work 
in pictures, even as the most insignificant 
extra, it was necessary to become a mem- 
ber of the Screen Actors Guild, to the 
tune of fifty dollars membership fee and 
four dollar first-quarter dues. Once you 
managed the complicated requirements 
for this, you were expected, as an extra 
in good standing, to telephone Central 
Casting at fifteen-minute intervals from 
five a.m. to eleven p.m. every day, upon 
the slim prospect that sometime the an- 
swering operator would change her me- 
chanical reply of "No work," to the 
information that you were to report at 
one of the studios for a day's engagement. 
But there seemed small chance ever to 



get as far as the telephone calls, for, since 
there were already seven thousand regis- 
tered extras, admittance to the Guild 
seemed all but impossible. Not only must 
your photograph, your personality, your 
acting experience and your ability in 
general be approved by the Board, but as 
a preface even to this, it was required 
that you have at least three letters from 
studios recommending you as so excep- 
tional that pictures would be better off 
if you were part of them. 

SO there it is," Scott said to Julie, con- 
tinuing the story that night when the 
two girls were curled up on the great soft 
davenport in Castle Argyle's living room. 
"You can't get work in pictures without 
letters from the studios saying that you 
are exceptional, and the studios can't pos- 
sibly know you are exceptional, until you 
have worked in pictures! The whole 
thing seems impossible," she declared, 
"unless, as in a case like yours, some 
studio makes a real bid for you. Never- 
theless," she added with spirit, "I didn't 
come to Hollywood for the fun. It will 
be a long, cold day before I give up!" 

So today became tomorrow and tomor- 
row became the next day, discourage- 



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ment and disillusion combined with 
bright hope. 

For Scott there was the joyful surprise 
of discovering one chance for admittance 
to the Guild which she had not at first 
comprehended. It seemed that extras 
were desired in every trick profession so 
that any director's call, however ex- 
traordinary, might be filled. 

Since there were girl unicycle riders, 
girl stagecoach drivers, girl net-fall spe- 
cialists, girl herders of wild cattle, etc., 
etc., ad infinitum, it seemed far from 
likely, on first thought, that anybody 
could offer any trick which would be a 
new one. But strangely enough this small 
possibility became Scott's opportunity, 
for having spent her childhood in Swit- 
zerland, she was an old hand at ski jump- 
ing, a qualification which, in view of her 
sex, did indeed accomplish the impossible, 
and win her the coveted membership. 

She realized only too well that this was 
just the beginning of a long and weary 
routine but even so it was a beginning, 
and with renewed spirit she entered into 
the business of dialing Garfield 3711 at 
fifteen-minute intervals every day. 

Meanwhile, reporting daily at the War- 
ner lot, Julie became ever more eager 
to become part of this world of make- 
believe. Each day upon the set found her 
daring to feel more sure that she was 
going to win the coveted chance to be- 



come an actress under contract, in line 
for small roles and traveling by this 
route to bigger ones. She began to dream 
of it in no indefinite terms, especially 
when Mr. Trilling informed her that she 
was to stay on for a few weeks of special 
coaching in Sophie Rosenstein's classes. 

KJ OW and then she let Scott share one 
' of Tod's letters. She had long since 
displayed his picture. 

"Nice and tall," Scott had commented. 
"And sandy hair is my favorite for a man. 
Are you engaged to him?" 

"Well, I ... I don't know," Julie had 
replied honestly enough. She had been 
doing a good deal of thinking lately 
about how she would fit her old life and 
her new one together: in other words, 
what did she want to do about marrying 
Tod? But it was quite true that he had 
never actually asked her; she was simply 
taking it for granted that he was taking 
it for granted! 

Meanwhile, there was Curt Melbourne; 
the joy of flower boxes bearing his card, 
the fun of dinner dates, his interest al- 
ways frankly flattering, his eyes saying 
more than eyes had ever said to her 
before. . . . 

And so winter became spring. And one 
noontime Miss Bette Davis dropped in at 
the portrait gallery to pick up a pair of 
gloves she had left there the day before. 

"I was sorry to hear about Julie." she 
said to Curt. "Too bad she isn't to remain 
on the lot . . . she's a sweet youngster." 

Curt didn't know what Miss Davis 
meant. After a moment he asked her. 

"I thought you would have heard." she 
replied. "In Steve Trilling's office just 
now, they were arranging for her to be 
returned home. It seems they have hoped 
the Studio Theater classes would develop 
her sense of emotion and her ability to 
act, but it hasn"t seemed to work out. " 

Suddenly Curt's door opened and Julie 
stood upon the threshold, no tears in her 
eyes for the first long second, then they 
came with a rush! 

"Hi there. Missy," Curt said with his 
usual grin. "Looking for a nice big hand- 
kerchief?" He hastened to produce one, 
as he went to meet her. "Glad you csime 
straight to your Uncle Curtis. I've just 
heard the news." 

"You must think I'm a terrible baby 
to be crying about it." Julie apologized. 

"I, for one, don't think so," Bette Davis 
assured her. "But in your case how can 
Hollywood possibly be important? Didn't 
you tell me about a chap in Ohio who's 
building your ideas into a house? I know 
of but one reason why a young man asks 
a lady to design his house," she said with 
her vivacious smile. 

"But I don't want to give up," Julie 
declared. "If it s true that an actress 
learns emotion by shedding tears, I'm im- 
proving by the minute.'' 

"But can't you improve in Ohio?" Miss 
Davis suggested . . . "Just last night I 
was thinking about how California has no 
springtime; no crocuses or pussywillows. 
Each year I hate to be missing them. 
Would you like to come over on the set 
with me?'' she invited. "I don't imagine 
you've had lunch. I'll send for some." 
But it was Curt who replied. 
"I think I'd like her to stay here for 
a while, if you don't mind." he said. 
"There are one or two things id like to 
say about Hollywood versus Ohio." 

Romantic proposal? Fatherly advice? 
What ix Curt going to say to Julie in 
this crisis? Continue this exciting trtie- 
to-lije story in 

September Photoplay-Movie Mirror 



78 



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20 9 

(Continued from page 29) on the knees 
of the gods, as those things always are. 

2. Why does Lana Turner go in for 
musiciayis? 

Well, that's a lot of eyewash. Lana 
doesn't care whether they play a trumpet, 
clarinet, beat a drum, write music, or 
sell insurance. She just likes men. Let 
me add, attractive men. In one week 
she's reported to have been engaged to 
four different men and to have "eloped" 
with two others. No one can tell what 
she's going to do, not even Lana. There 
is an impulsive child of nature if I ever 
saw one. Maybe that's what makes her 
so attractive on the screen. Take the 
matter of the color of her hair. The 
studio had a heck of a time keeping it 
the same for the duration of one picture. 
Then her clothes. She loved red. Her 
fire-wagon automobile matched her 
blouse. Well, that's all kid stuff, but 
that's what she is. And here we go on 
the supposition that she's grown up. Give 
any kid all the money she wants, all the 
publicity, the finest parts, all the greatest 
stars in the movies to play opposite and 
the adulation of millions of fans — and 
what can you expect? Anybody's head 
would be turned. But give Lana time — 
she'll settle down. Maybe with a string 
of ex-husbands, but she wouldn't be the 
first one to do that, either. 

Will Paulette Goddard continue her 

upward climb? 
Who's to stop her? Certainly not 
Paulette. Certainly not her studio. 
They've given her a new contract. And 
certainly not Paulette's ambition. 

4. Why didn't Orson Welles marry 
Dolores Del Rio? 

I may be just an old meanie, but I be- 
lieve the difference in their ages had 
something to do with it. Isn't she eleven 
years older than he is? And up to now, 
she's had a very full life. Orson is really 
just beginning his and no one knows it 
better than Orson. 

5. What's happened to the career of 
Don Ameche? 

I wish you'd tell me! 

6. Why is Dorothy Lamour always in 
love but not mari-ied? 

Offhand, it would look like the sad 
case of the girl who's "always a brides- 
maid but never a bride" — for one or an- 
other of the unhappy reasons the mag- 
azine ads are always telling us about. 
But, of course, you can take one look 
at Dottie and quickly dismiss that angle. 
And it's not because she's "a girl that 
men forget" either. Dorothy's beaux are 
as persistent as all get-out and the way 
they feel about Dottie I don't think 
there's a one of 'em that would object 
to being "Mr. Dottie Lamour" if Dottie 
would just say "Yes." And still those 
wedding bells don't ring. Here's how I 
dope it out. Everybody's fond of Dottie. 
She's a sweet kid — and she's still a kid 
emotionally. Sure, she's fond of men. 
She likes masculine attention, all the 
little romantic trimmings — flowers, moon- 
light, soft music, et cetera. These are 
the things she loves — not any partic- 
ular man who provides them. And as 
long as a romance stays at this stage, 
Dottie 's happy as a lark. But when her 
beau gets to the serious stage and wants 
her to face such practical problems as 
managing a home, hiring servants, com- 
munity property details, he brings her 
down to earth with a dull and sickening 
thud that spoils her dream — and romance 
flies out the window. You see, Dottie's 
had many responsibilities and hardships 

80 



estlons I Dare Hollywood to 

and was cheated out of those carefree 
schoolgirl romances. She frankly enjoys 
the life her money makes possible for her 
and she's probably making up now for 
what she missed. It's ten to one that Dot- 
tie can't go on like this forever. One of 
these days the right man will come along 
and say, "That's all very well, my girl, 
but it's time you settled down, and I'm 
the guy you're settling with." Dottie will 
love it! 

y Why won't Ginger Rogers wear 
make-up on the screen? 
Well, if you had a lot of freckles and 
photographed like a kid of twelve, would 
you sit down before a mirror at seven- 
thirty in the morning and have your face 
all smeared up with grease and powder? 
No, you bet you wouldn't. Neither would 
I. But I can't get away with it. They get 
a look at this old puss and say, "Cover it 
up, boys, and try to make it look young." 
And here Ginger, who's of age, mind you, 
puts nothing on hers and looks twelve! 

8. Why does Vic Mature think he's a 
genius? 

I'll bite. Why??? 

9. What happened to the Hedy La- 
marr-George Montgomery romance? 

Well, plenty. In the first place, George 
has a very large family to support on 
a very small salary and while he's young 
and good-looking, he's just about as so- 
phisticated as your Aunt Fanny (no ref- 
erence to any living person) and Hedy's 
been around plenty. She's been brought 
up on luxury, had every whim satisfied. 
Hedy's a home girl up to a certain point 
— she's also a good business woman. 
The fact that the night they broke their 
engagement she went right back to dining 
with John Howard shows that her heart 
is 'still intact. If there's any torch being 
carried it's not clutched in her pretty 
little hand. 

10. Will Jean Gabin and Marlene Die- 
trich marry? 

Well, will they? Go on, tell me! I 
dare you. 

11. Will Ann Sothern marry Bob 
Sterling? 

Well, she has practically a year to wait 
for her final divorce. By that time he'll 
be well incorporated into the Army 
and, by that time, anything could have 
happened. If she were free to marry him 
now, I think there'd be wedding bells. 
But a year from now — oh, baby! Wouldn't 
I like to know! 

/2. Will Teresa Wright be a star? 

Definitely yes. She's one of the finest 
young players I've seen. She had sense 
enough to turn down picture offers for 
a year and a half, because Sam Goldwyn 
was on a sitdown strike with United 
Artists and wasn't making pictures — and 
she wanted to be under his management. 
He saw her first in "Life With Father"; 
but she waited until he produced "The 
Little Foxes," which gave her the part 
she wanted. Her performance in "Mrs. 
Miniver" is something to shout about and 
even Gary Cooper, fine actor that he is, 
had to do some real trouping to keep up 
with her Mrs. Lou Gehrig. 

13. Why does Katharine Hepburn keep 
Hollywood guessing? 

Because Katharine has the kind of a 
brain that clicks even while she's sleep- 
ing. And we've been lying out in the 
noonday sun so long that ours don't 
even work sometimes while we're awake. 
Then, too, Katharine's a lady born, and 
that always intrigues Hollywood. 



>nswer I 

14. Why does Bob Hope advertise 
Madeleine Carroll instead of our native 
beauties? 

Your guess is as good as mine. I'r i 
going to answer this one if I can. Firsti 
I think, it's because she is a prett;^ 
woman — and, of course, no one in Holly-I 
wood hates publicity. Whatever Bob'J 
reason for starting the gag in the firsq 
place, it's made her one of the best-knowiJ 
women in America. ] 

15. Will Madeleine Carroll marry Stir-\ 
ling Hayden? ] 

I don't think so. Stirling's young, hand-j 
some, virile and impressionable — and got] 
such an inferiority complex when he! 
became an actor that he walked out on ai 
contract which contained everything. ^ 
What the war will do to him, no one 
can tell. But it's going to take an abid- 
ing love and a great deal of tenderness 
for those two to reach the altar. 

16. Why will Bette Davis play any- 
thing, no matter how hideous the role 
makes her look? 

Because, my friends, Bette Davis is ar. 
actress. She'd rather act than eat. And 
anyone with that instinct will sink hei 
own personality into a good part, jus' 
for the feeling of pure joy she gets. 

17. Why is Norma Shearer about to 
retire? 

Is she? 

Why does Veronica Lake wear that 
lock of hair over one eye? 
I can understand why she did at the 
start of her career. If you want to crack 
Hollywood's shell, you have to do some- 
thing startling to make people notice 
you. The gags that movie-struck kid<^ 
have thought up to attract the attention 
of the right people out here are too nu- 
merous and bizarre to describe. 'Veronica 
was accustomed to using her bean. She 
figured out that it's the simplest and most 
obvious trick that often tilrns the deal— 
and what could be simpler than letting 
her hair fall down as nature made it, 
with a lock covering one eye? In a town 
where glamour gu'ls are always outdoing 
each other with elaborate hair-dos, such 
simplicity as this was as startling as an 
air-raid siren — and got as quick atten- 
tion. But Veronica's got herself estab- 
lished now. She proved her mettle in "I 
Wanted Wings." We all know who she is 
and like what she can do. So why Ccin't 
she relax and be herself? 

19. Why isn't Olivia de Havilland the 
big star her sister Joan Fontaine is? 

In the first place, Joan's been the luck- 
iest girl who ever came to Hollywood. 
Let's count the parts she's had, after she 
was dubbed a failure: The only really 
sympathetic part in "The 'Women." 
amongst a bevy of meowing cats; "Re- 
becca": "Suspicion"; "This Above All''. 
"The Constant Nymph": and, coming up. 
"Jane Eyre." Any one of those would 
make any girl a star, if she had the 
vestige of good looks and a grain of 
ability. Joan's got them all in quick suc- 
cession and can act, too. True, Olivia 
hasn't done badly. She's had Melanie in 
"Gone With The Wind," "Hold Back The 
Dawn" — and, with that, she got Charles 
Boyer. But sister Joan got Brian Aheme 
as a husband. You just watch Olivia's 
smoke when she gets a husband. 

20. What woidd happen to Hollywood 
if Mickey Mouse, Plufo, Dumbo and 
Bambi got caught in the draft? 

Brother, my tears would form a 
Niagara and blot out all these words— 
and then vou'd have no story! 

The End 

PHOTOPLAY combined with movie mirror 



Speak for Yourself 

(Continued from page 21) 

When I go to a movie, I try to see 
just what it is that gives each actress 
her poise and charm. 

I'm interested in how the actress looks 
when she walks, when she sits down, 
or when she simply stands. How does 
she carry her purse? What does she 
do with her hands? 

The movie stars make charming pres- 
entations of the right styles, the proper 
make-up and coiffures. 

In the better pictures, I hear the right 
kind of pronunciation and diction. 

In short, every movie has become, for 
me, a double feature — a source of en- 
tertainment and a source of knowledge. 
Thelma Porter McMinn, 

Canyon, Tex. 

$1.00 PRIZE 
Come On, Boys, Get Together! 

A M writing this information for Myrna 
Loy to notify her that after a tei'rific 
balloting session held here by my bud- 
dies, we have nominated Myrna Loy 
as our favorite actress. By a large ma- 
jority Miss Loy easily defeated Dorothy 
Lamour, Lana Turner, Betty Grable, 
Claudette Colbert and Ann Sheridan. I 
did plenty of campaigning on my part 
to prove how much Myrna Loy is su- 
oerior to all these glamour girls (?). I 
nyself have been a Myrna Loy fan for 
en years — that's when I first got a crush 
)n the very charming ex-Montana dam- 
sel. She ought to know about this "silent 
ove" of mine for her. I regret that it's 
lot possible for me to see Myrna Loy 
jind tell her how much I admire her. 
J Pvt. Jack Bark, 

j Fort Jackson, S. C. 

i 

J Here's another point of view: 

\ $1.00 PRIZE 

'a S a buck private in the United States 
' Army, I've had a chance to see first- 
icind what sort of movie tastes United 
States service men have. Do you know 
i^ho is the Army's favorite actress? No, 
lot Ann Sheridan (although she is well 
iked) but none other than Joan Davis! 
ler brand of comedy is an effective cure 
or loneliness and homesickness which 
re prevalent in many Army camps, 
loldier boys like to have fun; the type of 
icture Joan Davis appears in is the an- 

' wer. 

So Joan Davis rates a twenty-four-gun 
alute from every Army camp! 

Pvt. Anthony Perry, 
PI San Jose, Cal. 

HONORABLE MENTION 

) OOR stupid Hollywood! What, pray 
tell me, is the matter with an industry 
lat looks down its nose at a really po- 
!ntial star like Robert Stack and tries 
) cram swell-head Mature down our 
iroats. 

Whit L. Gallman, 
Pittsburg, Pa. 

JAORE of Betty Grable in dramatic 
"* roles! Ginger Rogers, after switch- 
ig from dancing to dramatic parts, won 
le Academy Award. Why not give 
rable this opportunity? 

Evelyn Kelly, 
Greensboro, N. C. 




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81 




They All Kissed the Bride 



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(Continued jrom page 42) continued to 
drink it until the sound of babbling voices 
told him that the ceremony was over. 
Suddenly through the doorway he saw 
the ominous figure of the detective he had 
punched. Bidding the bartender a hasty 
good-by, he made his way into the foyer 
where the guests were forming in line 
to kiss the bride. Unobtrusively he 
slipi>ed into line, watching the detective 
approach Margaret for further instruc- 
tions. When the moving queue deposited 
him in front of Vivian, she kissed him 
automatically. 

The kiss came as a complete surprise, 
but after the first shock he began to 
enjoy it. For long moments he held the 
bride in his arms, kissing her thoroughly. 
When he released her at last, he saw 
that the detective was still waiting for 
him and he hastily stepped back into 
line again. 

Margaret placed a restraining hand on 
the detective's arm. 

"I think I know who he is," she said 
grimly, watching him approach the bride 
again. 

This time his kiss left Vivian breath- 
less and the rest of the guests buzzing 
with shocked surprise. 

"I know I know who he is," Margaret 
decided. "A hoodlum named Joe." 

Efficiently she instructed her maid to 
bring "Joe" to her upstairs sitting room; 
gave brief orders to the detective and 
went on ahead to prepare some marked 
money with which to buy back the 
letters Vivian had written. 

AS "Joe" entered the room, the now- 
familiar sensations seized her again. 
"I asked you up here because . . ." 
she began desperately. 

He came close to her. "Why, Baby," 
he murmured, "I didn't know you cared! 
Is it pKJssible you feel the way I do?" 

"I don't even know how you feel," she 
pointed out frostily. 

"I feel as though one of M. J. Drew's 
trucks hit me — you know, the big ones." 

"The Drew trucks don't hit anybody; 
we have the lowest accident rate in the 
country," defended Margaret indignantly. 

"1 like loyalty in my women, even 
when it's loyalty to M. J. Drew," he 
applauded. "Why, I'm even prepared to 
like her. After all, the old flufT brought 
us together. But why discuss that tired 
character?" 

He came closer to Margaret and she 
backed away, flinging the package of 
money at him. 

"Here's your money!" 
He looked at it, bewildered. "My 
money? Why, there's a thousand dollars 
here." 

"And that's all you're going to get!" 

"You're making a mistake. Baby," he 
told her softly. Margaret moved further 
away. 

"Well, what do you want?" she de- 
manded. 

"What does any man want?" She 
backed up against the door and he fol- 
lowed her. "A woman of his own, a 
home, babies. . . ." 

Frantically Margaret signaled for the 
detective. He rushed in, crying, "What 
happened, M.J.?" 

"M.J.!" The young man looked at her 
aghast. "You're M.J.?" 

"The tired character," adnutted Mar- 
garet sweetly. "The old fluff." 

The detective seized him. "Let's tell it 
to the District Attorney," he said as he 
dragged out his victim who was still 
muttering "M. J. Drew — M. J. Drew — 
Bahv!" 



The following day in her office Mar- 
garet returned to the problem of Michael 
Holmes. Mr. Crane, of the Personnel 
Office, tried to get her to choose the 
loving cup which was to be awarded 
at the Dance Contest, a feature of the 
forthcoming Drivers' Armual Dance, but 
Margaret's secretary interrupted. 

"There's a man here says he's Michae; 
Holmes." 

Hastily Margaret got rid of Crane and 
told the secretary to send Holmes in. 
Sharp invective rose to her lips and died 
there as she gazed into the eyes of yes- 
terday's uninvited wedding guest. At last 
she asked weakly, "How did you get out 
of jail?" 

"Your lawyer got me out," he grinned. 

The secretary burst in, apologizing for 
the interruption and handing Margaret a 
small package. 

"There's a man outside who says this 
is important and he Wcints to see you.'' 

kA ARGARET tore open the packet. In- 
side were Vivian's letters. She 
looked at the man before her, then at 
the letters and back to her caller again. 

"Then who are you." she demanded. 

"I'm still Michael Holmes," he assured 
her. His grin widened as he pointed to 
her knees. "What's the matter — your 
liver gone bad again?" 

"Wait here," Margaret ordered des- 
perately. "I'll be right back." 

She left her office and rushed down 
the hall. Joe Krim. who had been wait- 
ing in the secretary's office, followed her. 
explaining earnestly that he had brought 
back Vivian's letters and wanted them 
returned to her with his love. Margaret 
listened to his incoherent explanations 
until they reached the office infirmary, 
where she dismissed him abruptly and 
hurried inside. 

"Dr. Cassel," she demanded breath- 
lessly, "when you examined me ten days 
ago, my liver was bad, wasn't it?" 

"You could win blue ribbons with your 
liver," the doctor told her at the end of 
a thorough examination. "What made 
you think you were sick?" 

"Dizzy spvells — sudden weakness in the 
knees." 

"Perhaps you experienced some sort of 
emotional shock?" 

"Nonsense," she denied firmly. "Please 
give me something." 

Dr. Cassel took a bottle of pills from 
the medicine chest. "These will act as a 
sedative. Take a couple whenever this 
symptom occurs. However,'' he warned, 
"too many will result in drowsiness." 

MARGARET hurried back to her office 
to confront Michael. Purely as a 
precaution she took two of the pills first, 
but it was needless. Michael had gone, 
leaving word that Miss Drew might see 
him at his home after nine o'clock that 
evening if she wished to discuss anything 
with him. Margaret considered the situa- 
tion wryly. She had very little choice. 
Michael Holmes had adequate basis for 
a law suit on charges of assault, defama- 
tion of character and false arrest. Some- 
how she must get him to sign a legal 
release, or it might involve the company 
in e.xpensive and undesirable publicity 
"Besides." she assured herself defiantly, 
"what have I to be afraid of?'' 

That evening Margaret rang the bell 
of the old browTistone house where 
Michael roomed with Johnny Johnson 
and his wife Susie. Johnny opened the 
door. 

"He's on the second floor," Johnny re- 
plied in answer to her query about Mike. 
Margaret thanked him and turned to 



82 



PHOTOPL.^Y co»Jibi?ied icif'i movie MnutOB 



go upstairs. Then she stopped. 

"Could I have a glass of water?" she 
asked. 

Susie brought the water. Johnny intro- 
duced them. "Susie, this is Mike's girl 
friend. He told me you'd be coming 
around tonight," he added with a friendly 
grin as he handed Margaret the glass. 
Weakly, she took two more pills. 

At the top of the stairs she hesitated, 
took the bottle from her purse and shook 
some pellets into her hand. After swal- 
lowing quickly, she knocked at the door. 
Mike, wearing his dressing gown, ushered 
her in. 

Margaret found it difficult to talk busi- 
ness. Mike just wasn't interested. When 
she mentioned money, he flung open the 
windows of his balcony. Below on the 
river, the moon was silver. In quiet 
desperation Margaret clapped more pills 
into her mouth. The mournful sound of 
a boat whistle drifted into the room. 

Mike came close to the couch and 
leaned over her. "Know what that is, 
Maggie?" he asked softly. 

"The name is M. J. Drew and that's 
the whistle of a dirty old scow," she told 
him scornfully. 

"Oh no — it's the sob of a girl weeping 
for her man — her man who's gone down 
to the sea in a ship and not come back. 
She's crying for what once was. It's the 
tears of memory. . . ." 

His voice was low and compelling. 
Margaret slipped behind the table. "Is 
this your business mood?" she demanded. 

Mike stared at her. Suddenly he 
slapped the table with his hand. 

"You're afraid!" he cried. "You're 
afraid of men! That's why you're afraid 
to get out from behind that table." 

"I'm afraid of no man," she denied 
proudly. 

Slowly he advanced to her. She stared 
at him without moving. 

"Put your right hand on my shoulder," 
he commanded softly. "Put your left 
hand on my other shoulder." His arms 
were around her then, her head upKjn his 
chest. Tenderly he lifted her face to his. 
Her eyes were closed. He kissed her, 
releasing her at last. Only a soft snore 
answered him. M. J. Drew was sound 
asleep. 

THE morning was horrible for Margaret. 
' She awakened to hear Mike singing, in 
the other room, "You Must Have Been A 
Beautiful Baby." She looked at the room 
she was in; she touched the Murphy 
bed she was in. Finally she gazed with 
sick suspicion at the pajamas she was in. 

She refused breakfast when Mike 
brought it to her. "How could you be 
so mean as to . . ." she accused. "When 
I — I came here in perfectly good faith." 

Light dawned in Mike's eyes. "Wait a 
minute! I think I know what you mean." 

Mike flung open the door. "Susie," he 
bellowed. 

Susie hxirried in. "Well, now," she said 
soothingly to Margaret, "you look rested. 
I never did see anybody so tired. You 
never moved when I undressed you." 

"Morning, Mike — Maggie," Johnny 
greeted them, cramming the rest of his 
breakfast into his mouth as he came in. 
"Gotta run to do or die for the good old 
Drew Company. If I'm tardy," he ex- 
plained to Mike, slipping on his leather 
jacket, "I'm going to explain to vinegar 
puss, laughingly known as the boss of 
the Drew Trucking Lines, that I had to 
sleep with a friend of mine who not 
only tosses in his sleep but calls you 
Baby.' Why don't you marry the guy 
soon, Maggie?" 

' Mike stared after Susie and Johnny as 
•they hurried out. He turned to Maggie. 
il'I suppose you'll have him fired." 

t^UGUST, 1942 

I 



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She ignored his question. "Call my 
office later and we'll arrange about the 
release." 

When she reached the office Vivian 
was waiting for her. 

"You know, Margaret," she babbled, 
"the strangest thing happened to me as 
we started on our honeymoon. When 
Stephen and I got into the car and he 
said: 'And now, young lady' . . . Well, not 
only did my knees shake, but I trembled 
all over." 

"Why did you come back so soon, 
Vivian?" asked Margaret, starting to 
change into the business clothes her maid 
had brought her from home. 

"Oh, he just looked at the financial 
page of the newspap>er, made some phone 
calls, and . . ." 

"Oh, he came back because of busi- 
ness!" Margaret's approval was evident 
in her voice. 

MIKE strolled in unannounced, with 
the air of one perfectly at home. 
"Why, Maggie," he chided, "don't you 
ever have any clothes on?" 

Crimson with embarrassment, Margaret 
slid a dress over her head and sent Vivian 
home. 

"By the way," asked Mike, "have you 
fired Johnny yet?" 

"Suppose," Margaret suggested icily, 
"we just discuss the price you're placing 
on that release." 

"The price is nothing." 

"Nothing?" she echoed in amazement. 

"Surprised, aren't you? Surprised 
there's something money and influence 
can't buy. That's just why I'm giving it 
to you. I want you to know that. I par- 
ticularly want you to know that when 
you go to fire Johnny." He moved to 
her desk. "Is this the release?" 

She nodded and he sat down. "I'd like 
only one promise before I sign. It isn't 
much. If I can borrow the money, will 
you have dinner with me tonight?" 

"Of course," she agreed. 

"And tomorrow night?" 

"I think it's very gracious of you to 
ask me two nights running." 

As he signed the release Margaret 
picked it up and locked it in a drawer. 
Then she turned to him coldly. "I've 
just remembered I've an important ap- 
pointment tonight. I'm so sorry." 

"I suppose," Mike said ruefully, "this 
is what's known in business as shrewd 
trading." 

"If you feel cheated, you may drop by 
the cashier." She spoke authoritatively 
into the dictaphone. "Hoover, a Mr. 
Holmes will be by. Give him a thousand 
dollars and charge it to my personal 
account" 

"Maggie," Mike said softly, "you ought 
to learn to play. Somewhere under all 
the layers of Drew common stock, pre- 
ferred stock, seven percent bonds — 
there's a girl." He ignored the wrath on 
her face. "The world's full of people, 
Maggie. Most of them are not very suc- 
cessful — some of them are even failures, 
but they're warm people, brave people, 
people full of hope and dignity and love." 

"Will you shut up and get out!" she 
shouted furiously. 

"I'll get out," he agreed, "but I'm the 
kind of a guy that never shuts up. And, 
by the way, better take a look at the 
signature on that release." 

Tlie door slammed behind him and 
Margaret flew to the drawer. On the re- 
lease was written boldly, "Benedict 
Arnold." 

That night Margaret went again to 
Mike's house in Brooklyn. Mike wasn't 
there. He and Susie had gone ahead, 
Johnny told her, to the Drew Trucking 
and Bus Lines Employees' Annual Dance. 



"You can go with me," he offeree 
Looking at her appreciatively, he added, 
"I'll do my best to remember Mike's m;- 
best friend." 

PNISREGARDING her protests, he helped 
■-^ her into the cab of his truck. Fo; 
the first time, Margaret saw one of he: 
own spKjtters in action, for she had al- 
ways insisted that the No Riders rule b - 
strictly enforced. The sp>otter warnea 
Johnny grimly that he would be repwrte ; 
for using the company truck for pleasur 
and made Margaret get out in the rain 
regardless of the damage to her gowr 

"That's M.J. Drew for you again, 
raged Johnny. "Good thing she isn't go- 
ing to the dance — I'd put ground glas 
on her hot dog." 

The dance was a success for everyonv 
but Margaret. 

"I don't care for frankfurters," she in- 
formed Mike frigidly as he offered her 
one. 

"Don't tell me you dislike them, Mag- 
gie. Nobody dislikes them, not even the 
Queen of England. But then," he pointec: 
out, "she takes time off from the busines.- 
of being a queen to be a woman!'' 

So Margaret ate hot dogs, washin: 
them down copiously with bright- colorec 
soda pop. At that, she might have sur- 
vived had not Johnny seized her for his 
partner in the Dance Contest. 

While Mike and Susie watched enthu- 
siastically, Johnny was cooking with gas 
on the dance floor. He twirled Margaret 
in circles; he spun her in the air; he 
tossed her over his shoulder and caught 
her just as it seemed certain she must 
crack her skull open. Crane, one of the 
judges, mistaking her frantic signals for 
rescue, decided that she wanted to be 
chosen the winner. After all the com- 
peting couples were tapped off the floor. 
Johnny and Margaret remained in their 
fantastic frenzy. 

"Hold onto your bustle. Baby," Johnny 
encouraged her. "It's the last lap." 

Crane came over to them with a be- 
nign smile on his face. 

"Ladies and gentlemen — the winners!" 

JOHNNY took the applause of the crowd, 
beaming. Margaret slumped weakly to 
the floor. She was never quite sure how 
she came to be on the couch in Susie 
and Johnny's apartment, swathed in 
shawls and hot-water battles, but Johnny 
was feeding her something from a jug 
— something soothing and strangely 
warming. 

"It started out being blackberry 
brandy," he explained. "Pop kept add- 
ing to it. It kills pain in two seconds 
flat." 

"All she had was a little colic,"' Susie 
assured Mike. 

"Yeah," grinned Johnny. "You shoulda 
held her over your shoulder and pitted 
her back after feeding her— that brings 
up the air." Margaret took another swal- 
low from the jug and Johnny sniffed at 
it curiously. "I missed a can of floor wax 
just before Pop died. Wonder if he put it 
in here." 

After several more drinks. Margaret 
turned to Johnny expansively. "Johnny, 
you're a wonderful host and a charming 
fellow. Tomorrow I'll see that you get a 
five-dollar raise — no, make it ten — and I 
shall fire that inspector who was so 
nasty to you." 

Johnny was duly appreciative. "And 
to show you how much I think of you, " 
he announced, "I'm going to buy the 
Brooklyn Bridge and have it stretched 
from Mike's house to yours, so when you 
want to see each other you won't be 
held up by traffic." 

Margaret nodded and her head nestled 



84 



PHOTOPLAY cojnbi?ied with movie mirror 



against Mike's chest. 

"When they dehver the bridge tomor- 
row, please see they don't wake me up." 

Mike drove Margaret home in the 
truck, with Johnny and Susie asleep be- 
side them. The intricate harmony Mike 
and Margaret worked out on "You Must 
Have Been A Beautiful Baby" didn't dis- 
turb them. When they arrived at the 
house Mike woke Johnny and then car- 
ried Margaret carefully into the house. 

Johnny, backing the truck out of the 
driveway, saw a watchman and hailed 
him. 

"Say, what is this joint — Radio City?" 

"This is the Drew estate," the watch- 
man informed him, "and that was M.J. 
Drew, of the Drew Trucking Lines." 

Johnny moaned and collapsed quietly 
against Susie's inert shoulder. 

N the upper hallway Vivian met Mike, 
still with Margaret in his arms, and as- 
sumed that he was an out-of-town client 
Margaret had told her about. 

Mike stood Margaret delicately on her 
feet. "I just want to see how you look 
standing up." 
"How do I look?" 

"I like you better this way," he decided, 
and swept her into his arms again. 

"Margaret," Vivian cried, scandalized, 
"you said he was a married man!" 

"What's wrong with married men?" 
argued Margaret. "You're living with 
one yourself." 

Without replying, Vivian hastened 
downstairs to meet Stephen, just coming 
in. He stopped short at the unusual sight 
of Margaret in a man's arms. 

"He's a man from out West," Vivian 
explained hastily. "He has millions — big 
business merger with the Drew interests. 
You know how Margaret is about busi- 
ness — she's humoring him." 

"Lovely way to do business," mur- 
mured Stephen. "I must remember it." 

Mike carried Margaret into her room 
and placed her again on her feet. His 
arms lingered around her and she clung 
to him. 

"Am I a business deity, Mike?" she 
asked plaintively. "Just something to 
keep in trim for the good old stock- 
holders?" 

"You're the twinkle of a million stars; 
you're a crystal goblet filled with rare 
wine," he assured her fervently. His 
arms tightened about her. Then he 
moved her gently away. 

"Go to sleep, Margaret." Afraid of 
himself, he tried to escape, but her arms 
were about his neck, her cheek against 
his. Slowly she drew him down to the 
couch beside her. 

"The years without you, Mike — the aw- 
ful, awful years . . ." She pressed her 
lips to his. His head was heavy against 
her chest. Suddenly, indisputably, it was 
Michael who had fallen asleep. 

When Mike awoke the next morning, 
clad in the cook's negligee, tucked into 
Margaret's bed, Johnny Johnson forced 
his way into the room. Furious words 
flowed from his lips. Mike looked at him 
in bewilderment. 

"I don't get the hang of this," he said 
painfully. 

j "You don't?" stormed Johnny. "Well, 
'I'm talking about the guys you were sup- 
posed to write about, to let people know 
about— the little guys, the U. S. A., the 
guys you ate with, drank with and 
laughed with, last night. The guys you 
sold out this morning! The guys with 
the cans tied to their tails!" 

"Cans?" repeated Mike dully. "You 
were fired this morning?" 

"Yeah," answered Johnny hotly, "me 
and twelve other guys that used their 
Itrucks to go to the dance in. And my 



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85 





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opinion of anybody who sells out 
friends for a skirt . . ." With an elo- 
quent look at Mike's surroundings anc 
attire, he turned and left. 

Numbly, Mike finished dressing. Mrs 
Drew and Stephen Pettingill founc 
him just as he was leaving. Still thinking 
him to be a millionaire from the West 
Stephen told him frankly that he needed 
a thirty thousand dollar loan in order to 
reopen his father's steel mill. He had 
p>osed as a wealthy man in order to win 
■Vivian, whom he loved deeply and who 
now returned his love, but none of the 
family dared to ask Margaret for the 
money. 

"You'll employ truck drivers in this 
mill of yours, won't you?" Mike asked. 

"Yes, but you can't employ men in a 
closed mill," Stephen pointed out. 

Grimly Mike made out a check for 
thirty thousand dollars. He patted Mrs. 
Drew's shoulder as he handed it to her. 

Margaret met him at her office with a 
misty smile. On her desk the cup from 
the Dance Contest sparkled. 

"Thank you for last night, Mike," she 
whispered. "I'll never forget it." 

"Neither will a lot of others," he replied 
bitterly, tossing the release on the desk 
"There's your release — signed — and by 
my own name this time." 

"Why, Mike," she told him gently, "you 
know that isn't necessary." 

"Don't you think you'd better read it?' 
he suggested briefly. 

She looked at the figures on the paper 
uncomprehendingly. 

"I — I don't understand. . . ." 
"It's very clear," he snapped. "Thirt\ 
thousand dollars. Money — the stuff the\ 
print in Washington." 

"You're joking . . ." she said at last 
"Where do I find the cashier? Our 
little interlude will make very interesting 
telUng — among the boys in the back 
room." 

Disbelief mingled with pain filled her 
eyes and her fingers trembled as she 
flipped up the dictaphone key and ordered 
the cashier to pay Mr. Holmes thirty 
thousand dollars. 

Margaret moved through the rest of 
the day in a strange mixture of heady 
dreams and sickening reality. In the 
middle of a conference, all she could 
hear was Mike's voice in her ear, mur- 
muring, 'You're my beautiful baby.' It 
wiped out the figures of reports; it 
drowned the words sp>oken by directors. 
And always it was followed by the de- 
risive echo: "Sold out by your own 
love-sick infatuation!" Even Dr. Cassel 
couldn't help her now. 

AT home that night on her way into a 
board meeting in the library, she met 
her mother. Tentatively Mrs. Drew ap- 
proached her. 

"That rich man from the West you're 
merging with . . ." she began. 

"He's no rich man from the West. 
There's no merger. There's nothing," 
Margaret answered her bitterly, "but a 
stupid situation which Vivian got us into 
— which cost us thirty thousand dollars.'' 
She swept into the library and Mrs. 
Drew gazed after her, realization dawn- 
ing at the mention of thirty thousand 
dollars. With sudden determination she 
followed Margaret into the meeting. 

"Mother," Margaret said sharply, "I 
must ask you to leave." 

"You can't." replied Mrs. Drew calmly. 
"I'm a stockholder and I can sit in here 
and find out just how my business is 
being run." 

"Are you ill. Mother?" demanded Mar- 
garet in desperation. "I've been able to 
i run the business to everybody's satis- 
I faction before this." 



86 



PHOTOPL.AY coinbitied irith movie mirror 



"I don't know if you're capable, Mar- 
garet. After all, a woman who loves a 
man and can't trap him is. . . ." 

"Mother! As a stockholder, I can't pre- 
vent you from being here, but I can 
insist that you confine yourself to the 
business of the day." 

"The business of the day, Margaret! 
The business of love is always a woman's 
business, day and night. Now this 
Michael . . . ." 

"I don't want his name mentioned in 
this house," Margaret tried to order 
sharply. 

"It's being mentioned every time your 
heart beats," Mrs. Drew answered softly. 
"Listen to it, Margaret — it's saying 'Mike, 
Mike, Mike' . . . ." 

"But didn't he know I'd reinstated the 
men?" Margaret cried in defense. "Didn't 
he know they were discharged against my 
wishes? Didn't he know I was giving 
Johnny an increase? Didn't he . . . ." 

"Go ask him, Margaret," interrupted 
her mother. 

Margaret flung her arms about Mrs. 
Drew. "So you're silly and stupid!" she 
exclaimed. "Why, you're as wise as the 
ages, darling — I'm the dope!" Without 
further waste of time, she set off on a 
run to find Mike. 

BUT Mike was nowhere to be found. 
At last she came dejectedly to the 
garage where the Drew trucks were 
roaring into the street and told the fore- 
man she wanted to talk to the men. His 
eyes widening in surprise, he called to 
them. Sullenly they left their trucks 
and gathered in the center of the floor. 

"I'm looking for Michael Holmes," 
Margaret announced. "He's disappeared. 
The men were silent. 
"Why won't you answer me?" she 
begged. "Why won't you talk to me?" 

"We talked to you before," shouted one 
of the drivers belligerently, "and you 
know what happened to some of us!" 

"If Johnny and the others hadn't been 
employed somewhere else, I'd have taken 
them back," Margaret insisted. "You 
must believe me. Where.'s Mike?" 

The drivers faced her in stony silence. 
"I know you're good, loyal friends of 
Mike's — you're proving that. And you're 
proving something else — that I was 
wrong. You're everything Mike said you 
were — warm, brave, honest people. I'm 
begging you to tell me where he is!" 

The silence seemed to shout at her 
and tears came to her eyes then. "I 
know I'm on the other side of the fence," 
she said honestly, "but is love some sort 
of emotion that's reserved only for the 
proletariat? I love Mike Holmes and all 
your ideas of class distinction aren't go- 
ing to keep me from loving him! You 
may not tell me where he is and I may 
never see him again — but I'll love him 
just the same, in spite of you and the 
New Deal!" 

"Are you on the level?" asked one of 
the drivers suspiciously. 

"What do you want me to do to prove 
it?" she cried hysterically. "Name it — 
I'll do it. . . ." 

The driver led her to a truck and 
opened the rear door. "Get in." 

She hesitated. "Why can't I ride up 
front?" 

"We're not allowed to carry riders. 
Get in." 

She crawled into the rear and the 
liriver slammed the door. As the truck 
ground slowly out of the garage the men 
•ooked at each other with delight. From 
-he rear of the truck came two voices 
□lending happily. "Oh, you must've been 
1 beautiful baby — you must've been a 
iDeautiful doll. . . ." 

The End. 




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87 



What I Don't Like about 
Jeanette 

(says Nelson Eddy) 



(Continued from page 54) annoying is 
the way she can dance like a dream, 
which means the studio is always putting 
dance sequences into our pictures — when 
/ can't dance worth anything! There 
ought to be a law! 

And the way she never says, "I told 
you so!" even though she has been 
proved dead right in an argument, but 
only smiles, sweetly tolerant of your own 
ignorance. Gets a man's goat. 

THE way she manages to conduct all of 
' her personal business between scenes 
on the set, so that when she goes home at 
night she can relax. While me — I burn 
the midnight oil plenty. These efficient 
women are also jolting to the masculine 
ego. 

And the way, when she "blows" a line 
(which I must say she seldom does) , she 
merely says very calmly, "I guess we'll 
have to do that over again." When I 
"blow" a line, I'm ready to tear the set 
apart! 

And the entertaining way she has with 
interviewers! She rattles on, giving 'em 
wonderful copy and they go away raving 
about how interesting she is, how smart 
and well-informed. Me — I'm tongued- 
tied in comparison. The interviewer 
finally gives up, saying to himself, "That 
Eddy! I suppose he tries — but give me 
Miss Jeanette MacDonald! There is a 
savvy gal!" 

The End 



★ **★★*****★ 




The Eddy-MacDonald team takes 
time off from "I Married An 
Angel" to chuckle over what they 
said about each other here 



What I Don't Like about 
Nelson 

(says Jeanette MacDonald) 



(Contmued from page 55) me wild is 
the way he is always on time. This makes 
me, one who has been known to be tardy 
at times, look very bad. For instance, I 
may be only a few minutes late to work, 
but I'll find him waiting for me, smug 
and satisfied with himself. Really, it is 
quite upsetting to a lady's dignity. 

And the way he'll come around, laugh- 
ing like everything at some joke he has 
heard, but when I am all ready to hear 
the joke and laugh, too, will suddenly 
inform me he can"t tell it to me! 

And the way he can go off to a football 
game on a Saturday afternoon while I 
have to stay at the studio for fittings. 
And how he always stops in Wardrobe 
to crow over me, before he leaves. 

The way he doesn't say anything when 
he sees me wearing pink, which color I 
know he doesn't like, but just maintains 
a sort of pained silence. If he would only 
say something, then I could answer back! 

And the way, when I am discussing a 
book I've read, he'll look down at me and 
remark with exaggerated surprise, "Why 
Miss MacDonald, you have brains as well 
as looks!" 

And of course, there is the easy, breezy 
way he talks up to interviewers, giving 
them all kinds of interesting things to 
write about him, while I never seem to 
think of anything clever to say! That 
easy poise of his, especially, makes me 
green with jealousy! 

The End 



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Hollywood's Secret Hecrtbrecker 



f {Continued jrom page 58) half-sister of 
Alfred Gwynne Vanderbilt, now married 

' to Bob Topping and thus Sonja Henie's 
sister-in-law, lost her dark poise once 
upyon a time because of him. So did that 

i. sophisticate of sophisticates, Marian 

I (Timmie) Lansing, who later became 

I Mrs. Peter Arno and now is married to 
a former aide of the Duke of Windsor. 
And back in 1935, when she was only 

ji fifteen years old, Ruth MofEett, daughter 

J of the FHA administrator, learned about 
love from the rangy Lothario from the 
plains of Texas. 

If girls had sense they'd run from 
Howard as from a typhoon. But girls 
don't have sense where men are con- 
cerned, esp>ecially men like Howard. 

He inherited seventy-five million dol- 
lars from his father when he was nine- 
teen years old. But he's never been the 

, proverbial millionaire's son, satisfied to 

" live in lavish indolence. 

': "The oil drill business is my father's 
business," he said. "I must do things on 

, my own." 

^ At twenty-one, watching a dull movie 
i in Dallas, Texas, he declared: "I could 
make a better picture than that!" So 
have we all! But a month later Howard 
was in Hollywood organizing his film 
company. 

He knew nothing about making pic- 
1 tures and he said so. He had a habit of 
I shrugging his shoulders and saying, 
■'What do you think I should do here?" 
Hollywood asked, "Have you met the 
chump from Texas?" No one guessed 
Howard was the boy Jimmy Stewart 
since has played on the screen, the boy 
who's simple and naive on the surface 
I but shrewd as a trap underneath. 

[august, 1942 



His first production, "Two Arabian 
Knights," took the Motion Picture Aca- 
demy Award for 1927. His second pic- 
ture, "Hell's Angels" — on which he gam- 
bled two million dollars — made screen 
history and turned Jean Harlow, a no- 
body whom he was ridiculed for starring 
and placing under a long-term contract, 
into a screen sensation. Then he dared 
make gangster pictures. He brought Paul 
Muni to the screen. Pat O'Brien too. 

It remains to be seen, after a long 
holiday from picture-making, if he'll 
come through brilliantly again with "The 
Outlaw" and hatch another star in Jane 
Russell. 

\A/ORK and romance are two things 
' ' Howard likes to keep separate. He 
isn't likely to have a personal interest in 
a girl who works in his pictures. Says 
Jane Russell, who admires him tre- 
mendously but impersonally: 

"I expected a man with Mr. Hughes's 
money and fame to be ritzy. But he isn't. 
He pays no attention to the way he looks. 
He used to wear old white flannels to 
the studios and a shiny blue suit with 
a hole in it. 

"He has more patience and energy than 
anyone I've ever known. On a shot where 
I kiss right into the camera he had a 
definite idea about what he wanted. We 
worked on that shot for three days. And 
lots of times when we all left the studio 
exhausted he would go over to his Glen- 
dale factory to work on a plane." 

Motion pictures aren't Howard's major 
interest. Airplanes are. In ships made 
by the Hughes Aircraft Company, the 
construction of which he supervises to the 
least detail, he's broken speed records, 



pioneered through the stratosphere, won 
the Harmon Medal for his contributions 
to scientific flying and encircled the 
earth. 

"He has considerable genius," according 
to Olivia de Havilland, who ought to 
know, "and infinite charm." 

Olivia and Howard met in November, 
1938, a few days before Thanksgiving. She 
was in northern California on location. 
As a plane flies she was about an hour 
from her mother and home in Saratoga. 
By train it was a long way round. 

"Howard Hughes is flying up this after- 
noon," one of the company said. "Why 
not ask him to fly you home?" 

High color rose in Olivia's cheeks. "I 
couldn't! I don't know him! Besides, 
Howard Hughes has many more impor- 
tant things to do than to fly me home!" 

Howard decided otherwise. 

I N the same hour he and Olivia met they 
' were flying over California's brown 
hills and fertile valleys. She planned 
how she would write her cousin, Jeffry 
de Havilland of the de Havilland motor 
family in England, all about it. He'd 
been none too impressed with her star- 
dom, saying only it must be a great lark. 
But when he heard Howard Hughes had 
flown her home for Thanksgiving it would 
be different. 

Howard marked Olivia's eyes moist and 
shining as morning flowers with the dew 
on them. He marked her face, delicately 
turned. He marked her mouth, like ripe 
fruit. 

A few months earlier, encircling the 
earth (while Katharine Hepburn sat 
beside her radio, day and night, waiting 
word of him) he had looked out calmly 

89 




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over dark continents and deep oceans, j 
But as he asked Olivia, "When can we ; 
see each other again?" his eyes weren't 
calm at all, they were desperate. 

When and while Howard cares he 
cares tremendously. 

The Hughes-de Havilland romance had 
no publicity. 

When Howard and Olivia went out to- 
gether it didn't take them long to get out 
of town. His car is geared for a man 
accustomed to the speed of flight. He 
would think he were riding on the back 
of a snail if he kept the pace of other cars 
on the road. Like his father before him, 
who had a "fine fund" on deposit at the 
Houston police station, Howard has speed 
in his blood. 

EVEN if the photographers had discov- 
ered Howard and Olivia together it 
isn't likely they would have snapped 
them. Howard has the lens boys on his 
side. He flies them wherever they want to 
go. Following a heavy romance, during 
which they've let him alone, he wines 
and dines them at the Cocoanut Grove. 
And, taking them into his confidence, he 
wins them over completely. "I appreci- 
ate you fellows understanding I'm not 
a playboy, that I'd lose standing in the 
oil tool business if I were photographed 
with girls at night clubs," he tells them. 

The winter Olivia and Howard were 
seeing each other she was working in 
"Gone With The Wind." One day, lunch- 
ing with her in her bungalow dressing 
room, we suggested a magazine story 
telling how she and Howard had met and 
what they meant to each other. 

"Oh, no," she said. "I'd be proud to 
talk about Howard. You know that! But 
I can't. I can't risk having him think 
I'm using him for publicity. That would 
hurt him!" 

Olivia's pale brown hair was caught in 
a snood. She wore the somber grays and 
garnets of "Melanie." But her eyes were 
starry bright and her voice came full and 
quick. Looking at her, listening to her, 
you knew her life was warm with love. 
Her days were filled with satisfying work 
while she created one of the loveliest por- 
traits ever given to the screen. And, 
her work done, she went home to a house 
filled with Howard's flowers. 

THEN, quicksilver again, Howard was 
gone. Business took him to New York 
where he saw Katharine Hepburn once 
more. From there he flew south. In 
Florida he was seen with half a dozen 
beautiful girls in half a dozen famous 
cafes. 

It's strange Howard's never been sued 
for breach of promise and stranger still 
that, almost always, he salvages a worth- 
while friendship from the romantic ruins. 
Other Hollywood wolves would like to 
know how he does this. They shake their 
heads over him, individually and collec- 
tively. 

Today Howard and Olivia are the most 
loyal friends. 

When she was ill at Santa Fe it was to 
Howard she telephoned. "I have appen- 
dicitis," she told him. "If they have to 
operate — and I think they will — I'd prefer 
to be home." She laughed, that warm, 
young laugh. "Some of the nurses here, 
Indians, are terrific movie fans. I wouldn't 
trust them not to snip a little extra piece 
for a souvenir. Could you help me get 
a plane somehow, Howard? I've tried to 
charter one but they're all grounded." 

"By the time you get to the field a 
plane will be waiting," he promised. 
Then, "Be sure they bundle you up good 
and warm," he said. 

The plane he had released was on the 
runway warming up when she reached 




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90 



PHOTOPL.AV combijicci with movif mirbob 



the field. That night she found her room 
in a Los Angeles hospital filled with 
flowers. He telephoned a few minutes 
after she got in, to make certain she had 
everything she wanted. The next morn- 
ing he was at her bedside. 

Recently, at a party, Howard was criti- 
cized for being a "penny pincher." Olivia 
flew to his defense. "I've known him to 
be more than generous — often!" she told 
his critics. "I remember one evening 
when a shabby young man approached 
the car to ask for help. The traffic light 
turned. We had to go on. But Howard 
drove around the block, parked — with 
some difficulty — found that fellow again, 
gave him five dollars and promised him 
work at the factory. 

"And you must admit," she concluded, 
triumph bright in her eyes, "that Howard 
deserves more credit for doing a thing 
like this than most of us would. A 
man with his money and his position is 
approached constantly and disillusioned 
many times, I'm sure." 

HOWARD, like most people, is uneven 
about money. Because he's as rich as 
he is, his economies seem more drastic 
and his extravagances are more lavish. 
The gifts he makes girls often are worth 
a small fortune. He has paid thousands of 
dollars for an experiment on an engine or 
certain cloud effects for a pictui'e. His 
Sikorsky amphibian plane, which seats 
twelve, set him back seventy-five thou- 
sand dollars. Without grousing, he 
dropp>ed millions in the failure of a film 
laboratory and in a theater deal. But he's 
perpetually careful about little expendi- 
tures, the bets he makes on the golf 
course, the tips he gives waiters and taxi 
drivers. He's been described as a man 
who would argue over the oil in the tanks 
of a hundred-thousand-dollar yacht. He 
says himself he cannot bear to "fritter" 
money away. 

Back in 1929 Howard met and fell in 
love with Billie Dove. 

He was twenty-five years old then and 
his income was reputed to be two million 
dollars a year. He had just divorced Ella 
Rice Hughes, the Houston debutante he 
had mari-ied at nineteen, settling one mil- 
lion dollars on her. 

Billie was one of the most beautiful 
women in the world. For the benefit of 
those too young to remember her on the 
screen — no one who saw her ever would 
forget her — she had soft hazel eyes, a 
skin with the rich pallor of camellias, 
crisp brown hair with a wide swath of 
gray and a figure warm and round. 

FOR years Billie wore Howard's big 
blazing diamond — on the right finger 
but the wrong hand, incidentally. For 
years she and Howard saw nothing and 
cared for nothing beyond each other's 
eyes. Everyone thought they would 
marry the same day Howard's lawyer se- 
cured her divorce. Everyone was wrong. 

The Whispering Chorus whispered that 
Howard's business associates had ob- 
jected to his marrying a movie star. If 
this be true he bought their approval at 
a great price. 

A woman who's been part of Holly- 
wood for years said, just the other day, 
"Howard's still looking for the love he 
and Billie knew. Billie would leave a 
scar on any man who loved her. Not 
only because of her beauty but because 
of her lovely feminine sweetness." 

No other girl, certainly, ever held How- 
ard so long or completely. 

There have been more girls than any- 
one could count since 1932 when he 
and Billie said good-by. In Hollywood 
alone — and he spends only part of his 
time there— besides Rita, Faith, Hedy, 



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AUGUST. 1942 



91 




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92 



Ginger, Olivia and Katharine Hepburn 
there have been Lillian Bond, Dorothy 
Jordan, Marian Marsh, Ida Lupine, Fay 
Wray, June Collyer, Frances Drake, 
Wendy Barrie, Rochelle Hudson and 
dozens more who never reached the ten- 
date stage. 

Olivia believes Howard loved Katha- 
rine Hepburn well. "Katharine," Olivia 
says, "is the only girl of whom Howard 
talks; and he talks of her with warm 
respect." 

According to Theodore Dreiser the 
love of a man and a woman is a chemical 
attraction. Often, certainly, the con- 
flagration is fierce and instantaneous 
when a man and a woman meet. It was 
that way with Katharine and Howard. 
Instantly they touched the springs of 
each other's hearts and minds. 

Howard's campaign was fervent. If he 
had to fly to California for a few days 
he called Katharine, in New York or 
Connecticut, on the phone and talked for 
hours. He sent her yellow roses, three 
and four and five dozen at a time, every 
day. There never was a card but always 
when Katharine opened the box her fine 
lean face would glow. 

SHE never pretended to herself or any- 
one else that she and Howard were 
"just friends." Once, when she was asked 
what she would do if Howard ran around 
with other girls after they were married, 
she said calmly, "I'd kill him!" 

When she played "Jane Eyre" in Chi- 
cago Howard was with her. Her com- 
pany believed the thirty-five thousand 
dollar string of pearls with an emerald 
clasp carved with K that he gave her 
was a wedding present. An announce- 
ment was expected momentarily. The 
press waited at their hotel, at the theater 
and at the license bureau. Her mother 
and sister arrived from Connecticut. 

Katharine issued a statement. It read: 
"Miss Hepburn will not marry Mr. 
Hughes in Chicago today." 

Likely she and Howard had one of their 
wild quarrels. It may have begun over 
such a simple thing as an inadequate tip 
that he left on the table. Or perhaps he 
took advantage of this romantic moment 
to win the promise he always sought — 
that she wouldn't fly any more. Her 
flying made him angry. He flies care- 
fully, scientifically. When he steps out 
of a plane after taking a new record he 
has notes on such things as engine head 
temperatures at various altitudes and 
speeds. Katharine, on the other hand, 
takes off, hair flying, on an impulse. Ac- 
cording to Howard's standards she's reck- 
less. And in this case his standards are 
probably right. 

WHATEVER happened their love grew 
no less. "Jane Eyre" closed and 
Katharine's voice troubled her, as it often 
does when she gets overtired. Howard in- 
sisted upon a holiday. They ' cruised the 
Caribbean on George Baker's beautiful 
yacht "The Viking." Months earlier they 
had inspected this yacht at New London. 
It may be they had thought this southern 
holiday would be a honeymoon. 

A sea plane went with them. They 
flew through the soft air and the soft 
light of the tropics. They flew over the 
deep blue sea and the dark green islands. 
They flew into the morning and into the 
evening. And every sight and thought 
were shared and so became more beau- 
tiful, more wonderful. 

That was the summer Howard talked 
for publication about marriage, some- 
thing he had never done before, not even 
in the Billie Dove era. 

"I'm not a confirmed bachelor," he 
said, "and I expect to be married one of 




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these days. But I can't stand a gaga type 
of girl. A woman has to have something 
in her mind to be attractive." 

No one doubted it was Katharme, 
graduated from Bryn Mawr, a Phi Beta 
Kappa, and an exciting independent 
thinker, he had in mind. 

That was the summer "Stage Door" 
gave Katharine a high place on the 
screen. That was the summer Howard 
dipped the wings of his silver monoplane 
over the Hepburn estate on the Connecti- 
cut shore in a last farewell, as he took off 
on his globe-encircling flight. 

It was a few days later that Katharme 
rushed from Connecticut to her New 
York house to wait for him. There he 
found her, as soon as he could get away 
from the speeches and the ticker tape 
and confetti. And in the green shine of 
her eyes he again tasted his triumph. 

Katharine and Howard became adept 
at dodging crowds and reporters and 
cameramen. They used to peer out of a 
car door cautiously and, if they were 
discovered, pull in their heads, slam the 
door and beseech the driver to make 
time — in any direction. Following How- 
ard's flight, however, the press and the 
crowds were too much for them. 

One night the kitchen staff of a famous 
New York restaurant watched a waiter 
lay a table for two in the kitchen, set out 
the finest linen, china, crystal and silver. 
Their mouths gaped. Then, through the 
rear door, came Katharine and Howard, 
breathless from their mad dash through 
the alley. 

"No more touring the city for a restau- 
rant where we won't be mobbed — then 
home, in despair, for milk and scrambled 
eggs!" That was the essence of Katha- 
rine's edict. And the fantastic dinner in 
the restaurant kitchen— for which the 
chef outdid himself — was the result. 

Beyond the kitchen wall that night the 
band played. Men and women who knew 
Katharine and Howard well swayed to 
the music and dined at the tables, all 
unsuspecting. A couple of reporters and 
a cameraman seated at the bar stopped 
the host, hurrying kitchenwards with a 
special bottle of champagne. "Think 
Howard and his Katie will be in?" one of 
them asked. The host shook his head. 
"I don't think you'll see them tonight," he 
said. "I have an idea they're in hiding." 

The end of this romance came soon. 
But a large, silver-framed photograph of 
a bewhiskered Howard, taken directly he 
landed, which has long occupied a place 
of honor in Katharine's city living room, 
would indicate this particular time holds 
no unhappy aura for her, that it was good 
while it lasted, even unto the end. 

No one really knows when things be- 
tween Howard and Katharine changed, 
probably not even Howard and Katha- 
rine. Such things are so gradual as to 
be imperceptible. We know, however, 
that the song was over for Howard a few 
months later because it was that Novem- 
ber he flew Olivia home. For Katharine 
the melody seems to have lingered on. 
That December, admiring a handsome 
new overcoat Joseph Cotten, who played 
with her in "The Philadelphia Story," 
was wearing, Katharine asked: 

"Who's your fine tailor, Joe? 1 want 
to order a coat like that for Howard's 
Christmas!" 

The Hollywood wolves come and go. 
At this writing the pack is smaller than 
usual, numbering only a few agents and 
studio executives whose names mean 
little outside the film colony and, also, 
Reginald Gardiner, Errol Flynn, John 
Conti, Bruce Cabot, Vic Mature and, of 
course, Howard Robard Hughes, perenni- 
ally Hollywood's secret heartbreaker. 
The End 

AUGUST, 1942 



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Secret Romance 



(Continued jrom page 27) routine of din- 
ner cancelled at the last minute, of week- 
end plans ruined. That is, the executives' 
wives do stand it. They live separate 
lives from their husbands. They are busy 
with their children, their clothes, their 
gin-rummy sessions and their canteen 
work. If you are a solid, sensible woman, 
it works out all right. If you are a ro- 
mantic, tempestuous beauty with a sensi- 
tive mind and a hungry heart, it is hell. 

IT wasn't until Greer got her divorce in 
' Los Angeles that Hollywood even real- 
ized that she had been married. Then 
Hollywood started saying she would 
marry Benny Thau. Greer said, when 
queried, "I admire Mr. Thau so much. I 
respect Mr. Thau so much." She didn't 
say, "I love Mr. Thau so much." She 
didn't say it because like all good artists 
she had great respect for the truth. 

Moreover, there was nothing about 
Greer to attract the Hollywood wolf pack. 
She was neither a sweater girl nor a light 
of love. There was, in fact, everything 
about her to drive the eager wolf from 
her door. She read books, lots and lots of 
books, on all subjects from economics to 
j)olitical strategy to the art of Renoir as 
contrasted to the music of Cesar Franck. 
She was a lady. 

Next, she did herself in by the very 
perfection of her portrayal of Mrs. Chips. 
The artist in her made her appear ten 
years beyond her own age, ten pounds 
heavier and ten tons more settled than 
she will ever be, even in her tomb. She 
was much more her own self in "Remem- 
ber?" but that was so bad nobody ever 
saw it, so she played a dated though 
delightful lady in "Pride And Prejudice" 
and then the gentle, wonderful but none- 



(Continued jrom page 4) that I knew 
every line of his head, the set of his 
shoulders, the very way he moves or 
breathes . . . and there I stood, seeing a 
thousand or more men, all of whom I 
thought were Bill. I rushed up to this 
one and that, crying his name and hav- 
ing them turn around and be Tom, Dick 
and Harry. I began to believe I'd never 
find Bill, worked myself up into a good 
stage of thinking I might never see him 
again. Then just as the gate opened and 
the boys began marching through it, I 
heard his voice, calling me, and in an- 
other instant he was beside me. We only 
had a second or so together but at least 
we said good-by. . . ." 

I can tell you, too, the story of an- 
other girl star, who, when her actor hus- 
band went to war, simply couldn't keep 
on living in the style to which their two 
salaries had accustomed her . . . did she 
act like the old Hollywood ... go into 
debt to keep up a phony appearance . . . 
not at all . . . she moved, but she did it 
with typical laughter . . . she sold her 
Brentwood mansion, moved to a tiny 
rented place in Hollywood . . . when she 
takes you there, she grins, paraphrases 
the crack I made further back and says, 
"Only four rooms and a bath but I call 
it lousy" . . . she never mentions that 
$50,000 that she put in War Bonds. . . . 

Or you can take the story of Claud- 
ette Colbert who went out with the 
Victory show . . . that was two solid 
weeks of one-night stands, rehearsing by 
day, performing matinee and night, trav- 
eling steadily, without enough sleep or 
good food or rest of any sort . . . Colbert, 
the hothouse plant, who always has 



theless sedate Mrs. Gladney in "Blossoms 
In The Dust." Mr. Thau kept right on 
calling. If Greer had been a different type 
of girl she would have put her career 
ahead of her heart. Being married to the 
right executive is a very quick road to 
the right casting. 

It's all of a piece that she should even 
have to be playing Richard Ney's mother 
in "Mrs. Miniver." 

However, that actor had observant eyes 
and a sensitive imagination. Benny Thau 
also possesses those qualities, but Ney 
had one important commodity Thau 
lacked. Ney had leisure. He had the time 
to court a lovely lady with all the charm, 
the devotion, the romance and the roses 
a lovely lady deserves. 

ON the first date they had together, 
Greer and Richard went dancing. 
Greer is a tall girl, but Richard Ney is 
taller, while Benny Thau is definitely 
short. Greer loves dancing and Ney 
dances more smoothly than Cesar Ro- 
mero. Greer adores food and Ney knows 
how to order a perfect dinner and he 
always has plenty of time to eat it, once 
it is served. Greer loves books and so 
does Richard Ney. 

Of course, when the news of their 
dating first got out — and naturally it 
spread around the film colony with a 
speed that makes wildfire look sluggish 
as a river of oatmeal — there was a lot of 
official denial. There was much pooh- 
poohing from the studio, some mUd 
pooh-poohing from the Garson house- 
hold, not a bit of pooh-jK)ohing from Mr. 
Ney. At first most of their dates were at 
Greer's house, sitting in Greer's brilliant 
little drawing room, chap)eroned by 
Greer's charming mother. But lately they 



Close Dps and Long Shots 

something the matter with her, shrugs 
the tour off . . . her husband. Dr. Press- 
man, has long been stationed in Pensa- 
cola, Florida, and as soon as he gets the 
chance will go out as a flight surgeon, 
one of the most dangerous of all posts. . . . 
"I guess that tour will show Jack I 

TTTTTTTTTTTTTTTTTTTTTTTTTTT 



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have been going out more and more to 
dance and dine, even though they are 
still asking the photographers please not 
to snap them together. 

Your guess is as good as Hollywood's 
as to whether or not it will lead to mar- 
riage. There are even some bold souls 
who say they are already secretly wed. 
In any event, it isn't, in Hollywood, a 
"popular" romance as was the romance 
of Carole and Clark Gable, or that of 
George Brent and Ann Sheridcin. 

If they do wed, it will be a union 
hedged about by all the typical Holly- 
wood handicaps. Dick Ney's salary prob- 
ably isn't a tenth of Greer's salary. His 
im portance isn't a twentieth of hers. 
Probably he would always be "Mr. Gar- 
son." 

That setup, however, didn't ruin the 
blissful MacDonald-Raymond marriage, 
which was another "unpopular romance." 
The reverse of it didn't spoil the joyous 
Power-Annabella mating and the film 
colony didn't go for that one, either. The 
Bill Powells are still happy as spring 
larks, despite all the tragedies that were 
predicted for them, while the absolutely 
approved perfect combine of Myrna Loy 
and Arthur Hornblow is dust on the 
Reno records. 

So maybe Greer and Richard wiU wed 
and live happily forever after. Maybe 
they won't. They are moody souls, each 
of them, and their romance might evapto- 
rate with all the swiftness that charac- 
terized its inception. But regardless of the 
future, they are ecstatically, madly happy 
right now. 

And right now, as you perfectly well 
know, is very important right now. 
The End 



can work just as hard for this country 
as he can," she says. Then she grins. 
"For two weeks I can, that is." 

ANNA NEAGLE, just returned by 
convoy from England to show her 
"They Flew Alone" which she made 
in London and then to go on to 
Canada to do a tour of the Canadian 
Army camps, told me that the British 
Government feels that amusement is the 
greatest of morale builders . . . the Brit- 
ish have marvelous, even if different, 
senses of humor than ours . . . but some- 
how, I can't believe that anj'one save 
Americans, and Americans in Hollywood, 
at that, would think to make a short 
about how to shoot a gun a funny 
picture. . . . 

This happens at Disney's . . . Dis- 
ney, the immortal cartoon-maker, was 
given orders to do a training short about 
a certain kind of gun . . . you'd think 
that would be as dry as ancient Latin 
. . . but no . . . there are the facts about 
the gun, in cartoons . . . there are the 
instructions . . . but along with them, 
there are laughs . . . many laughs and 
long laughs. . . . 

That humor is the American way, 
Hollywood version . . . and let's be so 
thankful that our Government recognizes 
the benison of laughter, given not only 
to its young service men, but to us at 
home facing loneliness and rationing and 
uncertain news ... as a matter of fact, 
if we all were to buy one war stamp for 
every laugh Hollywood gives us. we'd all 
be doing a very neat thing for ourselves, 
for Hollywood and for these United 
States. . . . 



94 



PHOTOPLAY combined tfifh movie ^tIHROB 



Ships With Wings (U. A.) 

It's About: The part played by an aircraft 
carrier in the recent naval battles. 

ENGLISH- MADE, this rather trite story 
expresses the importance of aircraft 
carriers in battles. Of course, the story 
has the usual heel who is discharged 
from the R.A.F. and eventually becomes 
a hero by blowing up a dam near Greece. 

Seems as if the bravery of our boys in 
actual combat needs a bit of glorifying 
on the screen as well, or so the audience 
seemed to feel, judging by their remarks 
afterwards. 

The cast is all English and features 
Leslie Banks, John Clements and Jane 
Baxter. 

The photography is remarkable and 
worthy of great applause. 

Your Reviewer Says: Fair war stuff. 

The Mad Martindales 
{20th Century-Fox) 

It's About: A younger sister who takes 
over her big sister's bean. 

lANE WITHERS' swan song at 
J Twentieth Century-Fox, the studio 
that started her off to fame and fortune, 
develops into a blue melody with verses 
of hokum and a chorus of wails. Jane 
should have better material and, thank 
goodness, has taken a step toward get- 
ting it. 

In this one, Jane attempts to cap- 



The Shadow Stage 

(Continued from page 18) 

ture her older sister's (Marjorie Wea- 
ver's) rich beau, to the distress of her 
young suitor Jimmy Lydon. Alan Mow- 
bray as her daffy daddy is just that. 
Byron Barr as the wealthy young ob- 
ject of Jane's affection is fair. 

Your Reviewer Says: Now let s have no 
more such as this, please. 

Blondie's Blessed Event 
(Columbia) 

It's About: The Bumpsteads have a baby 
girl. 

T HE screen Bumpsteads keep apace 
' with Chic Young's newspaper comic 
strip and become the parents of baby 



YOU ASKED FOR IT! 

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girl Cookie. What a darling she is! 

Penny Singleton as Blondie arranges 
with Mr. Dithers, her husband's boss, to 
keep Dagwood, Arthur Lake, out of town 
until after the blessed event. Outside 
of the newcomer there isn't much to 
talk about. 

Your Reviewer Says: Not quite up to the 
standard. 

The Falcon Takes Over 
(RKO-Radio) 

It's About: An amateur detective who 
solves a murder in self-defense. 

"yOU'RE an old smoothie" could well 
' be directed at the popular screen 
sleuth, George Sanders, who has his own 
peculiar talents for unearthing murder- 
ers; this time one Moose Malloy, played 
by Ward Bond. 

Lynn Bari is the gal who catches the 
Sanders eye. James Gleason, Edward 
Gargan and Allen Jenkins are good peo- 
ple to have in any show. 

Your Reviewer Says: Well done. 

A Close Call For Ellery Queen 
(Columbia) 

It's About: The clever detective who is 
dismissed from a case before the murders 
happen. 

\A/ILLIAM GARGAN takes over the 
role of Ellery Queen, detective, 
formerly played by Ralph Bellamy and 



INHALING 

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And this irritation — from the 
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Sure, you inhale. All smokers do. So— 
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(*Reporled in authoritative medical journals.) 

AUGUST, 1942 



PHILIP MORRIS 



95 





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does a grand job. In the story Gargan 
takes himself off to the lodge of a rich 
man, Ralph Morgan (who is housing 
two odd characters), to discover Mor- 
gan has two daughters, one of whom 
has been missing for years. 

Margaret Lindsay, Gargan's secretary, 
impersonates the missing daughter and 
then the fun starts — more people are 
killed! 

Kay Linaker, Charles Judels and 
Charles Grapewin play important cogs in 
the wheels within wheels. 

Your Reviewer Says: Fair mystery stuff. 

Meet The Stewarts (Columbia) 

it's About: The attempts of a bride to live 
on a budget. 

IXIND of warm and cozy is this story of 
a poor boy, William Holden, who 
marries a rich girl, Frances Dee, and, as 
a result, experiences all sorts of laugh- 
able (to us) situations. To the bride and 
groom, the little things that seem so 
comical to us become mountains of woe, 
which only adds to our sadistic amuse- 
ment. 

If Columbia reckoned on making this 
as a serial, they have something here, 
for people all about us giggled and guf- 
fawed at the antics of this bridal pair. 
But with William Holden in the Army, 
we're wondering about the future fate 
of the Stewarts. 

At any rate, we can enjoy this one 
from its opening sequence, a titter-pro- 
voker, with Holden actually and literally 
up a tree, through its moments of tragedy 
(to the young people) when they attempt 
a dinner for the in-laws to its very 
satisfactory conclusion. 

Frances Dee makes a lovely bride. 
Holden, as always, gives a sincere and 
polished performance, while the rest of 
the cast, including Grant Mitchell, Mar- 
jorie Gateson and Anne Revere (there's 
a one), add special bits and highlights. 

Your Reviewer Says: Pleasant people to 
visit of an evening. 

Mexican Spitfire Sees A Ghost 
(RKO-Radio) 

It's About: An impersonation that ends 
ill a riot. 

I T'S Lupe Velez again, with Leon Errol 
' impersonating the now renowned Lord 
Epping. When the real Lord Epping re- 
turns from a moose hunt you can imagine 
the zaney goings-on. Buddy Rogers is 
the handsome husband of Lupe, who does 
her stuff to perfection. 

Your Reviewer Says: Loud, noisy and 
sometimes funny. 



Remember Pearl Harbor 
(Republic) 

it's About: An irascible soldier who t^irns 
hero. 

THE best thing about this picture is the 
' title, although there are moments of 
timely interest and drama. Don Barry, 
Republic's redheaded cowboy, leaps 
down from his horse to play the straight 
dramatic lead of the irresponsible soldier 
who neglects his duty, thereby causing 
the death of his pal, Maynard Holmes. 
Later, of course, Red sees the error of his 



ways and sacrifices his life by diving a 
bombing plane into a Japanese battleship. 
It's the old, old Army formula, it seems. 1 

Fay McKenzie as Holmes's sister is 
pretty and adequate. Alan Curtis as a pal 
of Red's is good, but it's really the dra- 
matic news flashes and timely inserts 
that keep the story alive and interesting. 

Your Reviewer Says: Interestingly timely. 

Escape From Hong Kong 
(Universal) 

It's About: A secret service agent knee- 
deep in foreign spies. 

VOU never saw such a mixup of "Is she 
' a spy?" or "Isn"t she a spy?" as Mar- 
jorie Lord goes through so that Universal 
can make a movie. Fake British officers, 
Japanese agents and three American 
cowboys, Andy Devine. Leo Carrillo and 
Don Terry, mix it up in a free-for-all 
before the bombing of Hong Kong. The 
cowboys, incidentally, have been putting 
on a sharp-shooting act in Oriental 
theaters when Miss Lord finds herself 
between the devil (a German posing as 
a Briton) and the deep sea full of Japs. 
From then on in the bullets fly thicker 
than the swallows down at Capistrano. 

Your Reviewer Says: Peppy as all get out. 

Henry And Dizzy (Paramount) 

It's About: The attempts of Henry Aid- 
rich to replace a wrecked motorhoat. 

JIMMY LYDON is the new Henry 
Aldrich who finds himself in very deep 
water. And we mean deep water when a 
borrowed motorboat is wrecked by 
Henry and must be replaced. The futile 
struggle of Henry and his pal Dizzy 
(Charles Smith) to earn enough money 
to replace the boat forms the basis of 
the story. How the boat is eventually re- 
placed is rather cute. Mary Anderson is 
the pretty girl. 

Your Reviewer Says: Not up to the old 

standards. 

Sunday Punch (M-G-M) 

It's About: Jealousy among prizefighters. 

C VERYTHING is going along fine at the 
old boardinghouse for prizefighters 
run by Connie Gilchrist until her beauti- 
ful daughter Jean Rogers returns from a 
theatrical tour. And then thump-thump- 
thump go all the masculine hearts, from 
Olaf. the janitor, played well by Dan 
Dailey Jr.. to William Lundigan. the col- 
lege lad who actually captures Jean's 
heart. 

The title'? Oh. yes. a Sunday Punch is 
a punch that packs sufficient wallop to 
land a man in dreamland. The big fight 
that climaxes the little yarn is a real 
thriller. 

Your Reviewer Says: Only if you enjoy 
fights. 

Ten Gentlemen From West Point 
(20th Century-Fox) 

It's About: The first students at West 
Point. 

HISTORICALLY this is a mighty in- 
teresting epic, dealing as it does with 
the establishment of West Point Academy 



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and the training of the first group of 
students that dwindles to a mere ten, 
under the rigid discipline of Laird Cre- 
gar, an Army major. 

Histrionically, however, it's painfully 
weak, despite the splendid cast of George 
Montgomery, John Sutton, John Shep- 
perd and Maureen O'Hara. Montgomery, 
both in delivery of lines and acting abil- 
ity, is woefully inadequate. Maureen, who 
merely decorates the story, and John 
Sutton, who loses her, are fair. Cregar, 
as usual, is splendid. 

How our Academy began and survived 
is most interesting, however. 

Your Reviewer Says: A good history lesson. 

Tarzan's New York Adventure 



(M-G-M) 



It's About: The adventures of the big 
jungle lad in New York. 

PICTURE the thrills and chuckles re- 
sulting from an audience's seeing 
Tarzan (in trousers) in the big city of 
New York whence he has come in search 
of Boy who was taken back to civiliza- 
tion by big-game hunters. 

His reactions to all modern inconven- 
iences, the telephone and radio among 
them, bring on a shower of chuckles 
from the audience. His rallying of ele- 
phants in the circus scene and leap from 
the Brooklyn Bridge are really something 
to see. Of course, Maureen as Jane, and 
Cheeta the ape are with him. Johnny 
Weissmuller, as usual, plays Tarzan. 

Your Reviewer Says: Watch that man go! 

Powder Town (RKO-Radio) 

It's About: A scientist who almost jneets 
death through his own invention. 

THE "powder" in this story is strictly 
' talcum and should be used to dust off 
the people who wrote and conceived this 
stupid piece. 

Edmond O'Brien is a scientist who in- 
vents some sort of explosive (we couldn't 
figure out what) and must be protected 
at all times by Vic McLaglen. But what 
good does Vic do when Edmond and his 
bodyguard are captured and almost 
blown up. 

Girls wander around and get mixed up 
in it. We wish to heavens we never had. 

Your Reviewer Says: Plain awful. 

Miss Annie Rooney (Small-U. A.) 

It's About: A rich boy gets in the groove. 

ADOLESCENT Shirley Temple be- 
comes a screen adolescent in the 
story of a young modern who executes 
a mean jitterbug and slings a mean mess 
of hot jive talk. 

Shirley is that young lady and very 
cute she is, too, in this so very different 
departure from anything the starlet has 
done on the screen. 

Dickie Jones is the rich young man 
who adores Annie Rooney (Shirley) and 
invites her, without his parents' knowl- 
edge, to his birthday party. After a pre- 
liminary snubbing by the guests, Annie 
hits her stride until her father, William 
Gargan, breaks in with his big noisy 
plans and spoils it all. 

Eventually it works out to everyone's 
happiness. Guy Kibbee as Grandad is 
A-1. Peggy Ryan as Shirley's girl friend 
and Roland Du Pree as her former boy 
friend are very good. 

Teen-age children will like it and we 
think Dad and Mother will, too. 

Your Reviewer Soys: Get hep, audiences. 



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97 



They Named the Baby Junior 




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Never was there a man who seemed to be 
more happily in love. If you think that 
all actors talk nothing but "I," you should 
have heard this one. He never said "I." 
He only said "Alice." 

"Alice had a tough time of it," he said. 

"Alice wanted a girl," he said. 

"Alice was so wonderful all the time 
the baby was coining," he said. 

"She has to be Junior," he said. "Alice 
Faye Jr. Isn't that a wonderful name? 
Think of having everybody know her 
mother was Alice Fay. What a break 
for a kid." 

"It's not so bad to be known as Phil 
Harris's daughter, either," we said. 

"Aw, that's nothing," said Phil and he 
wasn't kidding. He honestly feels that he 
is just a guy but Alice is a queen and 
Alice Jr. is a princess. 

Phil wanted a girl for two reasons. He 
hoped a girl would look exactly like this 
wife he adores; and besides he has a son 
by his former marriage, a lad now seven 
years old, who lives with them. 

"Until I was married to Alice, I didn't 
know that a man could have fun with his 
wife," Phil said. "I always thought if 
you wanted laughs, you had to go out 
with a gang of fellows. When I was 
married the first time, I was always going 
out with a mob of men, carrying on all 
night. I've been in night clubs all my 
life, so whether a place has sawdust on 
the floor or chromium on the doors makes 
no matter to me. Most women don't 
understand that. They want to go where 
the glitter is. But not Alice. She just 
wants to go where you want to go. If 
you want to play cards, she'd sit in on 
the game for hours. So what happens? 
Most of the nights we just stay home, 
doing nothing, having a wonderful time 
just because we're alone together. 

\A/HEN she knew she was going to 
" ' have the baby, she was the most 
sensible girl you ever knew. She just quit 
the screen cold. No business of hanging 
around to get another picture in and 
thereby maybe endangering hers and the 
baby's health. No, siree, not Alice. You 
should have seen us all those nights, sit- 
ting there, each drinking a quart of milk, 
Alice because the doctor ordered her to, 
me because she was drinking it. 

"At first we hof>ed the baby would get 
here on Alice's birthday. May fifth. 
Then we hoped she'd arrive on our first 
wedding anniversary, but she was late, 
finally arriving on May twentieth, and 
did Alice have a rotten time. The night 
they decided to operate, I told her I was 
going to stay right beside her and hold 
her hand and I did, too. Somehow I 
wasn't frightened, even for Alice, and it 
was the most terrific experience I've 
known, seeing my own daughter born, 
seeing them breathe life into her, hearing 
that first little cry she gave. 

"You know how sentimental Alice is. 
She's superstitious, too. When all those 
presents kept arriving, she'd open them 
all and beam over them, but she wouldn't 
touch one or give it away. She felt if 
she did, something might happen, that 
we might even get a boy. All along 
we've been furnishing the nursery 
in our house in Encino and for Christmas 
I gave Alice a bassinette I found in one 
of the stores. That's got everything on 
it, too, except a mortgage and I had it 
done in both pink and blue, just to play 
safe. Now that Alice Junior's here, Alice 
is planning to turn all those dresses and 
things over to one of the government 
agencies, to let them give them away 



98 



where they will do the most good. They 
are beautiful things, you know, all wools 
and silks and our baby couldn't use a 
third of them in the next ten years. As 
for the telegrams and letters we've had. 
so help me, there's one room out at the 
house that is packed tight with them. 
We want to answer every one. I got 
a card with a spotlight on it, that's 
for Alice, and a mike like an ear of com, 
which is strictly for me, and we're send- 
ing that out in answer to all those good 
wishes. You don't know what it means 
to know you've got so many people on 
your side. 

"\A/E HONESTLY didn't make so many 
plans for the baby"s future. We 
most of all wanted to have her, but we 
do know weVe going to give her singing 
lessons and dancing lessons and all the 
things we neither one of us ever had 
when we were kids. I'd like her to be 
an actress, because Alice is. and because 
I think actresses are wonderful girls. 
What makes them so wonderful is that 
they don't stop learning. Take Alice, 
she's always studying something and two 
or three books a week are nothing to her. 
I don't know. Maybe it's just jive, but 
the doctor said that Alice Junior really 
is a pretty fine kid. If she just gets her 
mother's eyes and mouth and her dis- 
position, that's all I ask. 

"The laugh of the whole thing was.'' he 
said, "that I told Alice all along that the 
night the baby came. I would go out on 
one terrific spree. So what do I really 
do? I just go home, don't even have a 
beer, just sit all alone being so happy 
that I nearly cried about it. 

"The only tough part of it all now is 
that I'm due to go on the road for four- 
teen weeks. Not counting ourselves, 
Alice and I have ten dependents. You 
take our taxes out of our incomes and 
you've got to keep scratching to meet all 
those expenses. The Jello program goes 
off the air till fall, so it's the theaters for 
me, doing five shows a day when I'm 
lucky and mostly seven or nine, getting 
in those theaters at eleven A. M. and out 
after midnight. What's more, I know I'll 
spend practically every dollar I make 
telephoning Alice. I did that the last 
time I was separated from her. I see a 
telephone and I go nuts with having to 
hear her voice and be sure she's all right 
and what I'll do now. with the baby 
added. I hate to think about. I go from 
here to San Francisco and then I head 
due east. We'd planned, originally, that 
Alice would go to Frisco with me. be- 
cause she's not due back on the screen 
until August for the picture 'Greenwich 
Village.' but now the poor kid won't even 
be out of the hospital by the time I 
leave." 

Phil looked up suddenly, said, "Excuse 
me, " and disappeared beneath the or- 
chestra pit. He was back in five minutes. 

"I went and called Alice then," he said. 
"She was fine, resting more comfortably. 
She said she was lying there thinking 
about teaching Junior to put over her 
first big number on her sixteenth birth- 
day. Will that be something? Imagine 
having Alice as a teacher. Nobody can 
put across a song the way Alice can." 

"We'll make a note of the date." we 
said. So we did. and you might make a 
note of the date. May 20, 1958. too. For it 
really should be quite a night, when this 
loved child, Alice Faye Junior, steps 
forth, with Alice Senior beaming from 
the audience and with father Phil Harris 
playing away to beat the band. 

The End 

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almost marries Bowman, are all excellent. (June) 

KINGS /?Off— Warners: Here is a superb 
drama, telling the story of five children from their 
schooldays to adulthood. Ronald Reagan is the town 
sport who loves Nancy Coleman, daughter of 
sadistic doctor Charles Coburn. Ann Sheridan is 
the girl who loves Reagan and Rol)ert Cumraings 
is the psychiatrist who is Reagan's friend. All 
performances are terrific. (May) 

KLONDIKE FURY — Monogram: This is the same 
old story of a doctor, Edmund Lowe, who loses a 
I>atient while operating, flees the whole mess like a 
weakling, then is faced with the same operation in a 
new environment. Bill Henry is an embittered 
cripple, Lucile Fairbanks his sweetheart, and Ralph 
Morgan a backwoods M.D. (June) 

LARCENY, /A'C— Warners: Eddie Robinson, 
Broderick Crawford and Edward Brophy open up a 
store next to a bank as a front and then start tun- 
nelling under to the vaults. But they become so 
fascinated by their success as legitimate business- 
men that they decide to give up robbing the bank, 
until .Anthony Quinn, a pal from prison, decides 
otherwise. With Jane Wyman. (June) 

'/^\/' MALE ANIMAL. THfi— Warners: A man- 
sized panic, this comedy of an English professor, 
Henry Fonda, his beautiful wife, Olivia de Havil 
land, and Jack Carson, ex-football i)layer who re- 
turns to the college and almost breaks up Fonda's 
happy home. Fonda almost gets dismissed from 
college because he's accused of being a Red. Joan 
Leslie and Herbert Anderson add to the fim. 
(June) 

MAN WHO RETURNED TO LIFE. THE— 
Columbia: John Howard is the high-minded hero 
who after escaping a murder charge by fleeing to 
California, learns that the man who sought his life 
is now himself accused of murdering Howard and 
treks all the way back to aid his enemy. (May) 

MAN WHO WOULDN'T DIE, T//£— 20th Cen- 
tury-Fox: Pretty farfetched is this, what with a 
corpse that's missing from its grave and Marjorie 
Weaver being so frightened that she pretends Lloyd 
Nolan, who is really detective Michael Sliayne. is 
her new husband so he can solve the mystery. 
Henry Wilcoxon is the family physician. (July) 

MAN WITH TWO LIVES— Monogram: Ed- 
ward Norris, following an accident, aw-akens from 
a deathlike stupor to be possessed with the soul of 
a gangster who was executed at the time of Nor- 
ris's lapse from consciousness, and takes over the 
gangster's activities and his girl. It's finally all ex- 
plained; but really, after all! (June) 

MAYOR OF 44tl! STREET, rW£—RKO Radio: 
In order to aid former racketeer Richard Barthel- 
mess, George .Murphy takes him into his business 
as agent for dance bands. Anne Shirley looks lovely 
but she's not at home in her role as hoofer assistant 
10 Mr. Murphy. (May) 

MISSISSIPPI GAMBLER— Vniversal: Reporter 
Kent Taylor witnesses the murder of a jockey as 
he's about to cross the finish line, so Taylor grabs 
a cab and starts a thousand mile chase that ends up 
in the discovery of the murderer, disguised through 
plastic surgery. Don't waste your time. (July) 

i/i^ MISTER F — Edward Small-U.A.. Leslie 
Howard plays the modern Pimpernel, who liberates 
artists, scientists and great men held in Nazi power. 
The story has a tendency to lag in spots but it's 
an interesting and thrilling picture. Mr. Howard 
and Francis Sullivan, as head of the Gestapo, give 
brilliant performances. (May) 

MOKEY — M-C-.W— All about a misunderstood boy 
who gets into serious trouble, with Donna Reed 
handed the thankless role of a young stepmother 
who refuses to understand her husband's son Mokey. 
Dan Dailey Jr. plays his father. (July) 

MOONTIDE— 20th Century-F'ox: Jean Cabin 
IS a sensation as a waterfront wanderer who rescues 
a forsaken waif, Ida Lupino, from her attempted 
suicide and discovers he wants to settle down with 
her. Thomas Mitchell, as Cabin's evil parasite, and 
Claude Rains, a philosopher, are excellent. Ciabin 
and Lupino are unforgettable. (July) 

MR. BUG GOES lO TOW.V — Paramount : 
For sheer delightful novelty, this story of insect 
life takes the prize. There's Hoppity, the hero 
grasshopper, his girl friend. Honey, plus many 
other beautiful characters. (May) 

MURDER IN THE BIG HOUSE— Warners: 
Newspaperman Van Johnson sets out to find out 
why a convict was electrocuted one hour before the 
set time. With the aid of Faye Emerson and George 
Meeker, he uncovers a political frame-up that al- 
most leads to another murder. Minor stuff. (July) 

U^V^My FAVORITE SL(5A'£)£— Paramount : 
Howl of the month is this riotous farce where 
British agent Madeleine Carroll, pursued by Nazi 
agents, takes refuge with vaudevillian Bob Hope 
and accompanies him West. Such a procession of 



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mixiips as these two get in and out of! You'd lose 
your breath if you weren't using it for laughter. 
(June) 

^^✓.V/K GAL 5^L— 20th Century-Fox: In this 
g.-iy musical Victor Mature portrays Paul Dresser, 
the songwriter. He runs away from home, joins a 
traveling show where he's befriended by Carole 
Landis, then meets the New York stage star. Rita 
Hayworth, with whom he falls in love. (JulyJ 

MYSTERY OF MARIE ROGET. THE— Univer- 
sal: This is all very confusing, what with the body 
of Maria Montez being found in the river, but then 
Maria herself walks in as she's been erroneou.sly 
identified. But then Maria really gets murdered. 
Patric Knowles is in charge of the case and they 
chase all over Paris to find the murderer. (July) 

NIGHT BEFORE THE DIVORCE. THE— 20th 
Century-Fox: Joseph Allen Jr. grows" tired of his 
superior wife, Lynn Bari, so turns for comfort 
to blonde charmer Mary Beth Hughes. Then Nils 
Asther steps into the fray only to get killed. What 
a waste of a fine actor like Asther! (May) 

NO HANDS ON THE CLOCK'— Paramount: 
Chester Morris is a private detective honeymooning 
with Jean Parker in Reno when the son of a wealthy 
rancher disappears, and Jean eggs Chester on to 
take the case. Dick Purcell, Astrid Allwyn and 
Rose Hobart round up the cast. (June) 

l/^l,^ REAP THE WILD WIND— Paramount : 
Another Cecil B. DeMille thrill-packed, rip-snort- 
ing adventure story of ships and men and women 
of the 1840's. In Key West. Paulette Goddard 
meets John Wayne, captain of a wrecked vessel, 
and falls in love with him. In Charleston she 
meets Ray Milland, attorney for Wayne's shipping 
company. The rivalry between the two men 
results in a thrilling climax. (May) 

^ RIDE 'EM COffSOy- Universal: Abbott and 
Costello, peanut venders from a New York rodeo, 
land on a dude ranch at the same time as would-be 
Western hero Dick Foran and meet Anne Gwynne. 
There are several hilarious moments. (May) 

RINGS ON HER FINGERS— ZOth Century-Fox: 
Henry Fonda, wage slave, meets Gene Tierney at a 
rich resort. Each thinks the other's wealthy, al- 
though (Jene is just a front for swindlers Spring 
Byington and Laird Cregar. Amusing. (July) 

✓ 7?/0 RITA— MG-M: Not the old "Rio Rita," 
but it does have Abbott and Costello. They've never 
been funnier as they blunder into a sabotage plot 
laid by Nazis in a Texas resort. Kathryn Gray- 
son and John Carroll sing and romance. (June) 

^SABOTEUR — Universal: Packed with suspense 
this story holds your interest despite many loose 
ends. Robert Cummings is a defense plant worker 
accused of sabotage who escapes the police, picks 
up Priscilla Lane and makes his way to New York 
where he uncovers the real saboteurs. (July) 

SCATTERGOOD RIDES ///CH— RKORadio : 
Guy Kibbee, as the small-town philosopher. Scatter- 
good Baines, helps Kenneth Howell to get back his 
dead father's favorite horses by outwitting a small- [ 
town snob with a hen-pecked husband, Jed Prouty. 
It has a warm homey coziness. (July) 

SECRET AGENT OF JAPAN— 20th Century- 
Fox: British agent Lynn Bari calls for a mysterious 
letter at the Shanghai night club run by Preston 
Foster. Foster, who thinks she's employed by the 
Japs, gets into the fray, and finally discovers the 
head man of the Japs. Noel Jladison. Sen Y'ung, 
Miss Bari and Mr. Foster are swell. (June) 

SHUT MY BIG AfO [/TH- Columbia • Joe E. 
Brown gives you plenty of laughs as the wealthy 
horticulturist who goes out West with his valet, 
Fritz Feld, to beautify the desert. (May) 

SING FOR YOUR SUPPER— Co\umhia: Rich 
Jinx Falkenburg is mistaken for a taxi dancer and 
ends up as a singer with a band. Bert Gordon, the 
mad Russian, makes people laugh. (July) 

SLEEPYTIME G/JL— Republic: A hodgepodge 
about three hotel chefs, Billy Gilbert, Fritz Feld 
and Jay Novello, who help Judy Canova impersonate 
a night club singer so she can win a contest to sing 
with Skinny Ennis's band. (June) 

✓ SONG OF THE ISLANDS— 20th Century- 
Fox: This has sex, music, comedy, Betty Grable in 
a grass skirt, Victor Mature in a sarong. Techni- 
color scenery, the clowning of Jack Oakie and 
llilo Hattie and grand performances by Thomas 
Mitchell and George Barbier. What else would 
you want? (May) 

i/' SPOILERS, THE- Universal : Alaska in the 
Gold Rush days, with John Wayne, beloved of 
Marlenc Dietrich, owner of a gambling saloon, dis- 
covering that Randy Scott is attempting to steal the 
mine Wayne owns jointly with Harry Carey. 
There's a terrifically exciting fight. (July) 

SUICIDE SQUADRON— 'Re{>uhnc: Anton Wal- 
brook gives a sterling performance as a Polish 
pianist on a concert tour through the States, where 
he marries Sally Gray, then returns to fight for 
Poland. The actual scenes, filmed from R.A.F. 
Spitfires, are exceedingly impressive. (July) 



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^^ TAKli A LETTER. D,-l/?/./:V(;— Paramount 
.\ delightful comedy with Rosalind Russell as the 
woman advertiser who hires Fred Mac Murray as an 
escort-secretary. But when Fred ogles charmer 
Constance Moore, Rosalind runs into the arms of 
MacDonald Carey until things straighten out. Rob- 
ert Benchley is Rosalind's partner. You'll love it. 
(July) 

THIS TIME FOR KEEPS — \i C M: Ann Ruth 
erford and Robert Sterling find their first married 
year shaky going. It doesn't help when Sterling goes 
to work for father-in-law Guy Kibbce. Nice little 
film. (May) 

✓•V^ TO BE OR NOT TO B£ — Korda U.A. : 
Carole Lombard's last picture remains a fitting 
tribute to her beauty and personality. She plays 
the wife of Jack Benny, both stars, who along with 
their troupe are caught in Poland by the Nazi in- 
vasion but manage to upset the Gestapo. (May) 

\^)/- TO THE SHORES OF TRIPOLI— 20th 
( Vntury-Fox : A whooper dooper service picture that 
Is hound to stir the patriotism of all Americans, 
proud of their .Marines. Smart aleck John Payne 
antagonizes his fellows, later proves himself a hero. 
Randolph Scott and Maureen O'Hara are very 
good. (June) 

TORPEDO BOAT— Paramount: Richard Arlen 
and Phil Terry conceive a device for projecting 
both planes into the air and torpedo boats into the 
water from the same carrier in this timely and 
exciting picture. Jean Parker and Cecilia Parker 
are very good. (May) 

L/t^ TORTILLA FLAT— M-GM: This has fire, 
humor, pathos. Spencer Tracy is a conniving loafer, 
John (iarfield is the hot-tempered Danny who loves 
"Hedy, a Portuguese girl with matrimonial ideas. 
Frank Morgan is the village recluse. All four are 
splendid characterizations. (July) 

I RAGEDY AT MIDNIGHT. ^—Republic: A 
too-anaemic Thin Man is this mystery story about 
a radio detective, John Howard, who, with his 
wife Margaret Lindsay, moves into an apartment 
vacated by Miles Mander and Mona Barrie and 
run smack into a little murder mystery. (May) 

TRUE TO THE .4 KM F— Paramount: Judy Ca- 
nova sees a murder committed, so in order to escape 
the murderers she lands in an Army Camp, where 
she's disguised as a soldier by her beau Jerry Co- 
lonna and stage star Allan Jones, .^nn Miller's 
snappy tapping and William Demarest's bewilder- 
ment as a top sergeant are very good. (July) 

\/ TUTTLES OF TAHITI. THE— RKO-Radio: 
A novel and refreshingly different story of the im- 
provident clan of Tuttles who dislike work and have 
a whale of a good time. Charles Laughton is at his 
best as the lackadaisical head of the enormous 
family. Jon Hall is his sailor son who falls in love 
with neighbor Peggy Drake. It's amusing and so 
well done. (June) 

TWIN BEDS-SmzW-V.A.: Too many husbands in 
one bedroom in this alleged comedy, with Mischa 
Auer and Ernest Truex skidding in and out of Joan 
Bennett's bedroom, just missing her husband, 
George Brent, who seems quite unamused. (July) 

TIVO YANKS IN TRINIDAD— Cohmhh: Rack- 
eteers Pat O'Brien and Brian Donlevy join the 
army and fall in love with the same girl, Janet 
Blair. It's gusty and rowdy. (June) 

WHISPERING GHOSTS — 20th Century-Fox: 
Milton Berle is a smart-aleck radio detective, but he 
runs into trouble, when he tries to solve the murder 
of an old sea dog. what with Brenda Joyce, the mur- 
dered man's niece, in search of the hidden jewels, 
two ham actors hired to frame Berle and several 
shady characters around. (July) 

IVHO IS HOPE SCHUYLER?— 20th Century- 
Fox: Five women are suspected of being a secret 
political ringleader and spiritualist using the name 
of Hope Schuyler and wanted as witness in a bribery 
trial. Is she .Mary Howard, Sheila Ryan, Janis 
Carter. Rose Hobart or Joan Valerie? You'll find 
out when almost everyone has been killed. With 
John Payne and Joseph Allen Jr. (June) 

WIFE TAKES A FLYER. TH/i— Columbia: In 
Holland under the Hitler regime Allyn Joslyn, a 
Nazi Major, has dishonorable intentions toward Joan 
Bennett, about to divorce her absent husband. 
Franchot Tone, an R.A.F. flyer, is passed off as the 
husband, but has to be divorced the next day. 
Briefly, they make a monkey of the Major. (July) 

WILD BILL HICKOK RIDES— Warners: This 
is the same Western you've seen before, only this 
time Constance Bennett is the shady-lady heroine 
and Bruce Cabot is the noble hero, and Warren 
William is the villainous bad man. (May) 

YOKEL BO K— Republic; Alan Mowbry, Holly- 
wood studio head, brings on Number One Movie 
Fan, Eddie Foy Jr., to advise on stones. Public 
Enemy Number One takes over and saves them from 
ruin. Gangster Albert Dekker and Joan Davis, his 
warbling sister, are good, but it's corn. (June) 

YOUNG AMERICA— 20th Century-Fox: See only 
if you're a Jane Withers loyalist. After a story 
like this, no wonder she left her studio. Jane, a 
snooty city girl, gets herself straightened out by the 
ideals of the 4-H Clubs. (May) 



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101 




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PERSONAL 
CHRISTMAS 

CARDS 
,* , fh Name 




AN ADDRESS E 

DISTIKCTIOK 




The Drake ... on ihc shores of beauti- 
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lilt Skitc liiii ■( Mickiiii Hiiiii 

CHICHI 



Casts of Current Pictures 



"BLONDIE'S BLESSED EVENT"— Columbia: 
Blondie, Penny Singleton; Dogwood, Arthur Lake; 
Baby Dumpling, Larry Simms; Cookie, Norma Jean 
Wayne; Daisy, Daisy; J. C. Dithers, Jonathan 
Hale; Ali'in Fuddle, Danny Mummert; George 
WifWey Hans Conried; Ollie, Stanley Brown; Mr. 
Crumb, Irving Bacon; Sarah Miller, Mary Wickes; 
William Lawrence, Paul Harvey. 

"BROADWAY" — Universal: George Raft, 
(jcorge Raft; Dan McCorn, Pat O'Brien; Billie 
Moore, Janet Blair; Steve Crandall Brod Craw- 
ford; Lil, Mariorie Rambeau ; Pear/, Anne Gwynne; 
Ntck, S. Z. Sakall; Porky, Edward S. Brophy; 
Grace Mane Wilson; Joe, Gus Schilling; Dolph, 
Ralf Harolde; Pete Dailey, Arthur Shields; Maizie, 
Iris Adrian; Ruby, Elaine Morey; Ann, Dorothy 
Moore; Rinati, Nestor Paiva; Trade, Abner Biber- 
man; Mack Gray, Mack Gray. 

"CLOSE CALL FOR ELLERY QUEEN, A"— 
Columbia: Ellery Queen. William Gargan; Nikki 
Porter, Margaret Lindsay; Inspector Queen, 
Charley Grapewin; Alan Rogers, Ralph Morgan; 
Margo Rogers, Kay Linakcr; Stewart Cole, Edward 
Norris; Sergeant Velie, James Burke; Lester 
Young, Addison Richards; Corday, Charles Judels; 
Bates, Andrew Tombes; Housekeeper Claire Du- 
Brey; Marie Dubois, Micheline Cheirel. 

"ESCAPE FROM HONG KONG"— Universal: 
Rusty, Don Terry; Pancho, Leo Carrillo; Blimp, 
Andy Devine; Valerie, Marjorie Lord; Major 
Reeves, Lel-md Hodgson; Kosura, Frank Puglia; 
Col. Crossley, Gilbert Emery. 

"FALCON TAKES OVER, THE"— RKO- 
Radio: Falcon. George Sanders; Ann, Lynn Bari; 
O'Hara, James Gleason; Goldy, Allen Jenkins; 
Diana, Helen Gilbert; Moose Malloy Ward Bond; 
Bates, Edward Gargan; Jessie, Anne Revere; 
Jerry, George Cleveland; Grimes, Harry Shannon. 

"GRAND CENTRAL MURDER"— M-G-M: 
'"Rocky" Custer, Van Heflin; Mida King, Patricia 
Dane; Constance Furness, Cecilia Parker; Sue 
Custer, Virginia Grey; Roger Furness, Samuel S. 
Hinds; Inspector Guntker, Sam Levene; Pearl 
Dclroy, Connie Gilchrist; David V. Henderson, 
Mark Daniels; "Turk," Horace McNally; Frankie 
Giro. Tom Conway; "Baby" Delrov, Betty Wells; 
Paul Rinehart, George "Lynn; Ramon, Roman 
Bohnen; Arthur Doolin, Millard Mitchell. 

"HENRY AND DIZZY"— Paramount: Henry 
Aldrxch, Jimmy Lydon; Dizzy Stevens, Charles 
Smith; Phyllis Michael, Mar>' Anderson; Mr. 
Aldrich, John Litel; Mrs. Aldrich, Olive Blakenev; 
Mr. Stevens, Olin Rowland; Mr. Bradley. Vaughan 
Glaser: Mr. Weeks, Trevor Bardette; Mrs Brad- 
ley, Maude Eburne: Billy Weeks, Carl "Alfalfa" 
Switzer; Jean, Noel Neill; Dizzy's Girl, Eleanor 
Counts; Mrs. Stevens, Isabel Withers; Pamela 
Rogers, Jane Cowna; Joe McGuire, Frank Orth; 
Sergeant McElroy, Edgar Dearing. 

"HER CARDBOARD LOVER"— M G-M: Con- 
suelo Croydcn, Norma Shearer; Terry Trindale, 
Robert Taylor; Tony Barling, George Sanders; 
Chappie Champagne, Frank McHugh; Eva, Eliza- 
beth Patterson; Judge, Chill Wills. 

"MAD MARTINDALES, THE"— 20th Century- 
Fox: Kathy Martindale, Jane Withers; Evelyn, 
Marjorie Weaver; Hugo Martindale, Alan Mow- 
bray; Bobby, Jimmy Lydon; Peter Varney; Byron 
Barr; Julio, George Reeves; Virgil Hickling, 
Charles Lane; Grandmother Varney, Kathleen 
Howard; Butlers, Robert Greig and Brandon 
Hurst; Van dcr Venne Steve Geray; Jefferson 
Gow, Sen Yung; Agnes, Emma Dunn; Hotel Clerk, 
Hal K. Dawson; Lawyer, Don Dillaway; Chang 
Gow, Tom Yuen; Pawnbroker, Otto Hoffman. 

"MEET THE STEWARTS" — Columbia: 
Michael Stewart, William Holden; Conduce Good- 
win, Frances Dee; Mr. Goodwin, Grant Slitchell; 
Mrs. Goodzvin, Marjorie Gateson; Geraldine Stew- 
art, Anne Revere; Ted Graham. Roger Clark; John 
Goodzvin, Danny Mummert; Jane Goodzvin, Ann 
Gillis; Willametta, Margaret Hamilton; Taxi 
Driver, Don Beddoe; Mrs. Stczvari, Mary Gordon. 

"MEXICAN SPITFIRE SEES A GHOST"— 
RKO-Radio: Carmelita, Lupe Velez; Lord Epping, 
Uncle Matt, Hubbell, Leon Errol; Dennis, Charles 
"Buddy" Rogers; Aunt Delia, Elisabeth Risdon; 
Percy, Donald MacBride; Edith, Minna Gonibell; 
Fingers O'Toole, Don Braclay; Luders, John Ma- 
guire; Hyacinth, Lillian Randolph; Lightnin' 
Mantan Aforcland; Bascombc, Harry Tyler; Har- 
court, Marten Lamont. 

"MISS ANNIE ROONEV"— Small-U.A.: An- 
nie Rooney, Shirley Temple; Tim Rooncy, William 
Gargan; Grandpop, Guy Kibbec; Martv. Dickie 
Moore; Myrtle, Peggy Ryan; Joey, Roland DuPree; 
Mrs. White, Gloria Holden; Mr. White, Jonathan 
Ilalc; Mrs. Metz, Alary Field; Burns, George 
Lloyd; Madam Sylvia, Jan Buckingham; Mrs. 
Thomas, Selnier Jackson; Stella Bainbridge, June 
Lockhart; Sidney. Charles Coleman; Policeman, 
Kdgar Dearing; Myrtle's Mother, Virginia Sale; 
.ludrcy Hollis, Shirley Mills. 

"MRS. MINIVER"— MG-M: Mrs. Miniver. 
Greer Garson; Clem Minizcr, Walter Pidgeon; 
Carol Bcldon, Teresa Wright; Lad\ Bcldon, Dame 
Mav Whittv; Foley. Reginald Owen; Mr. Ballard, 



Henry Travers; Vin Miniver, Richard Ney; Vico' 
Henry Wilcoxon; Toby Miniver, Christopher Se-. ! 
ern; Gladys (Housemaid), Brenda Forbes: Juci 
Miniver, Clare Sandars; Ada, Marie De Becker; 
German Flyer, Helmut Dantine; Fred, John -Abbot:. 

"MY FAVORITE SPY"— RKO-Radio: Ka: 
Kay Kyser; Terry, Ellen Drew; Connie, Jane Wj- 
man; Robinson, Robert -Armstrong; Aunt Jesa' 
Helen Westley; Flower Pot Cop, William Demaren: 
Cora (maid), Una O'Connor; Winters, LioDt: 
Royce; Major Allen, Moroni Olsen; Gus, Georg» 
Cleveland; Col. Moffett, Vaughn Glaser; Jules. 
Hobart Cavanaugh; Higgenbotham, Chester Clute. 

"ONCE UPON A THURSDAY"— M-G-M: 
Martha Lindstrom, Marsha Hunt; Jeff Sommer 
field, Richard Carlson; Mrs. .McKissick, Marjorif 
Main; Miranda Sommerfield, Virginia Weidler; 
Mrs. Sophie Sommerfield, Spring Byington; Joi. 
Archer, Allyn Joslyn; 5v/ti<i Norwood, France- 
Drake; Danny O'Brien, Barry Nelson; Dr. Cldt 
ence Sommerfield, Melville Cooper; Mrs. Jaceli 
Inez Cooper; Mrs. Justin I. Peacock, Sara Haden: 
Guinevere, Margaret Hamilton; Llewellyn Castle 
Ernest Truex; Mrs. Llczvelhn Castle, Cecil Cue 
n'mghzm-.Homer Jaceli, William B. Davidson. 

"POWER TOWN"— RKO-Radio: Jeems O'Shea 
Victor McLaglen; Pennant, Edmond O'Brien 
Dolly, June Havoc; Sally, Dorothy Lovett; .Meeker 
Eddie Foy, Jr.; Oliver Lindsay, Damian O Flynn. 
Chick Parker, Marten Lamont; Dr. Wayne. Ro; 
Gordon; Sue, Marion Martin; Mrs. Douglas. Mar; 
Gordon; Carol, Frances Neal; Betty, Julie Warren. 
Helen, Jane Woodworth; Gus, George Cleveland 

"REMEMBER PEARL HARBOR"— Republic 
Steve "Lucky" Smith, Donald M. Barry; Brua 
Cordon, Alan Curtis; Mareia Porter, Fay McKen 
zie; Van Hoorten, Sig Ruman; Capt. Hudson, lar 
Keith; Senor Anderson, Rhys Williams: Port I \ Pot 
ter, Maynard Holmes; Doralda, Diana Del' Rio; 
Mr. Little field, Robert Eramett Keane; Sergean; 
Adams, Sammy Stein; Tessie, Linda Lawrence. 

"SHIPS WITH WINGS"— U. A.: Lieut. Sta 
cf.v, John Clements; Vice-Admiral Weatherby. Leslie 
Banks ;CWio Weatherby, Jane Baxter; Kay Gordon, 
Ann Todd; Captain Fairfax, Basil Sydney. 

/'SUNDAY PUNCH"— M-G-M: Ken Burke 
VV'illiara Lundigan; Judy Galestrum, Jean Rogers; 
Olaf Jensen, Dan Dailey, Jr.; "Pops" Muller, Guy 
Kibbee; Matt Bassler, J. Carrol Naish; Ma Gale- 
sttum, Connie Gilchrist; Roscoe, Sara Levene; 
"Biff", Leo Gorcey; "Killer", "Rags" Ragla: : 
"Baby" Fitzroy, Douglass Newland; Nat Ck, 
Anthony Caruso; Jose, Tito Renaldo. 

"SYNCOP.ATION" — RKO-Radio: Johr. 
Jackie Cooper; Kit Latimer, Bonita Granville 
George Latimer, Adolphe Menjou; Mr. Porter, 
(jeorge Bancroft; Rex Tearbone, Todd Duncan; 
Cafe Singer, Connie Boswell; Paul Porter, Ted 
North; Smiley Jackson, Frank Jenks; Ella. Jessie 
Grayson; Lillian. Mona Barrie; Paul Porter ^as a 
child), Lindy Wade; and The AU-American Dance 
Band. 

"TARZAN'S NEW YORK ADVENTURE '- 
M-G-M: Tarzan, Johnny Weissmuller; Jane, Slau 
reen O'Sullivan; Boy, John Sheffield; Connie Beach, 
Virginia Grey; Buck Rand, Charles Bickford; 
Jimmie Shields, Paul Kelly: Manchester Mount- 
ford, Chill Wilfs; Colonel Ralph Sargent. Cy Ken- 
dal; Judge Abbotson, Russell Hicks: Blake Norton, 
Howard Hickman; Gould Beaton, Charles Lane. 

"TEN GENTLEMEN FROM WEST POINT" 
— 20th Century-Fox: Dazvson, George Montgomery; 
Carolyn Bainbridge, Maureen O'Hara: Hoziard 
Shelton, John Sutton; Major Sam Carter. Laird 
Cregar; Henry Clay, John Shepperd; Florirtu>nd 
Massey, Victor Francen; Bane. Harry Davenport; 
Scully, Ward Bond; Gen. William Henry Harrison. 
Douglass Dumbrille; Malonev, Ralph Byrd: Benny 
Havens, Joe Brown, Jr.; Sliippen, David Bacon: 
Mrs. Tlwmpson, Esther Dale: Chester, Richard 
Derr; Jared Danforth, Louis Jean Heydt: Caffatii 
Sloane, Stanley Andrews; Captain Luddw James 
Flavin; Letty. Edna Mae Jones; Senate President. 
Charles Trowbridge: Grandpa. Tully Marshall; 
John Randolph, Edwin Maxwell; Old Put. Uno; 
William Eustis, Edward Fielding. 

"THIS ABOVE ALL"— 20th Century-Fox: 
Clive Briggs, Tyrone Power; Prudence Cathaxay, 
Joan Fontaine; Monty, Thomas Mitchell: General 
Cathawa\, Henry Stephenson. Ramsboltom. Nigel 
Bruce; Iris Cathozcay. Gladys Cooper; Dr. Roaer 
Cathazvay, Philip Merivale; Waitress. Sara All- 
good: Rector, Alexander Knox: Violet Worthing, 
Queenie Leonard: Wilbur, Melville Cooper; Nurst 
Emily, Jill Esmond: Dr. Mathias. Holmes Herbert; 
Dr. Ferris. Denis (jreen: Chaplain. .Arthur Shields; 
Parsons, Dennis Hoey; I'lVar, Thomas Louden. 

"THIS GUN FOR HIRE"— Paramount : Ellen 
Graham, Veronica Lake: Michael Crane. Robert 
Preston; Willard Gates. Laird Cregar: Philip 
Raven, .Alan Ladd; Alzin Brezvster. Tully Mar- 
shall: Sluky, Mikhail Rasumny; Tomm\. Marc 
Lawrence; Annie, Pamela Blake: Stcze !^inner;\ 
Harry Shannon; Albert Baker, Frank Fergus.- 
Baker's Secretary, Bernadene Hayes: Night If'a!.' 
man. Tames Farlev; Little Cripple Girl, Viru.i 
Campbell: Mgr. of "The .March Bank", Chester 
Clute; Policeman zvith Michael in S. F., Emmett 
Vogan. 



102 



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Designed by Joset Walker— 
"In these days of hard work, 
I appreciate a mikl cigarette more than ever; 
so I stick to Camels, 

Milder and so good-tasting!" 



At right, Joset Walker's 1942 version of the 
Gay Nineties bloomers. Also for hiking— 
camel-colored shirt and shorts, wrap-around 
skirt. An ingenious American designer, 
Joset Walker is at work on the new slim 
silhouette. "Fashion work these days calls 
for steady nerves," she says. "I keep my 
smoking 7n/7</ — with Camels!" 




Joset WALKEK...f'as/ijo;i designer 

For town, country, beach . . . 
Joset Walker styles cotton. At 
right, ballet-length beach robe, 
belted in gold kid. Bright green 
swim-suit — two-piece, with soft 
surplice neckline, wrap-around 
midriff. For relaxation, this 
energetic young designer spends 
week-ends on her farm- 
planting, hoeing, driving a tractor. 
"And you'll usually see me 
with a Camel in my hand," she 
remarks."! never tire of smoking 
Camels. They're so cool and 
mild and have the most 
delightful flavor I could ask 
for in a cigarette!" 

CAMEL 

THE CIGARETTE OF 

COSTLIER TOBACCOS 





IMPORTANT TO STEADY SMOKERS 
The smoke of 
slow-burning Camels contains 

LESS NICOTINE 

than that of the four other largest- 
selling brands tested — less than any 
of them — according to independent 
scientific tests of the smoke ilself! 



Guaranteed bY^^\ 
L Good Housekeeping J 



R J. Reynolds Tobioro Company 
Wliistiin Snleni. NnnhOarolInt 




(0 GREAT MAGAZINES FOR THE PRICE OF ONE 

FULL-COLOR STAR PORTRAITS IN THIS ISSUE 

^ncluding^G^ 



Follow this Bride's Way to New Loveliness ! 

go on the CAMAY MILD-SOAP DIET! 




This pxcUing complpxion rare 
is hnsrd on skin specialists' advice- 
praised by lovely brides! 



M 



Y FRIENDS tell me how much loveUer 
my complexion has become since 1 
started following the Camay Mild-Soap 
Diet. 1 wouldn t be without Camay for a 
day," says beautiful Mrs. Carnohan. 

You. too, can he loveher if you will onb 
give the Cama) Mild-Soap Diet a chance. 
For, without knowing it, you may be let- 
ting improper cleansing dull your com- 
plexion—or vou ma\ be using a soap that 
isn t niilfl enough! 

Skin specialists advise regular cleans- 
ing with a fine mild soap. And Camay is 
actuallv milder than dozens of other po])- 
ular beauty soaps! That's why we say, 
"Go on the Camay Mild-Soap Diet." 

Give your skin thorough cleansing with 
Camav night and morning for 30 days. At 
once— what a delicious, fresh feeling! But 
be faithful and soon vour complexion 
mav have thrillin"; new loveliness! 



This lovely bride. Mrs. Harry Carno- 
han oj ISew York, iS . \' ., says: 
"I wouldn't let my skin go without the 
Camay Mild-Soap Diet for a single day— it 
his done so much for me! Why. I'd been 
following the Mild-Soap EMel only a short 
• time when rny friends i)egan asking for my 
beauty secret! Another thing I like about 
Camay is that wonderful fragrance. It just 
seems to last and last." 



(^^^^^ MILD-SOAP DIET^^/^^/^ 





TrnclrMirk 
Rh. U. S. Pat. UII 



First step to a /oiv/irr skin . . . 
Make a lather with Camay on your wash-cloil\. Work 
this milder lather over your skin, paying special at- 
tention to nose, base of nostrils, chin. Rinse with 
warm water— then 30 seconds of cold splashing*. 



.4s the iliiys po hy—netc beauty! 
."dimply do tliat every night. Then, wliile - 
the tiny pore openings are free to function 
ral beauty. In the morning— one more quir' 
with Camav and vour skin is readv for mak' 4 



it takes two to moke Romance 




/Romance fades when a girl is careless— Guard charm every day with Mum! 



ROMANCE seems in the very air tonight! 
- There's a moon to inspire unforget- 
table words, a lovely girl ready to listen. 
But there's no man to whisper them to 
Jane! 

Too bad someone can't tell her that a 
girl must be more than pretty— more than 
smartly dressed to attract a man. Unless 
she stays nice to be near, how can she win 
his heart— how can a man stay in love? 

The shocking thought that she's care- 



less has never entered Jane's pretty head. 
She bathes each day, of course, before 
dates, too— shouldn't that be enough? She 
forgets that a bath's job is to remove past 
perspiration. To prevent risk of future 
odor, so many popular girls rely on de- 
pendable Mum. 

With Mum your bath-freshness lasts for 
long hours. Mum keeps you a charming 
companion, helps your chances for ro- 
mance! You will like Mum for its: 



QUICK, CONVENIENT MUM KEEPS YOU BATH-FRESH FOR HOURS 




SPEED— 30 seconds to use Mum! Even 
when you're late for business or a date, 
you still have time for Mum! 
CERTAINTY— No guesswork about Mum — 
because without stopping perspiration it 
preterits odor all day or all evening. 

SAFETY— You can use Mum even after un- 
derarm shaving, even after you're dressed. 
Mum won't irritate skin. Mum won't harm 
fabrics, says the American Institute of 
Laundering. Guard your charm with Mum! 



FOR SANITARY NAPKINS -You med a 
gentle, safe deodorant for sanitary napkins. 
That's why thousands of women prefer dependa- 
ble Mum this way, too. 



Mum 



fakes the odor out of perspiration 

Mum IS ,1 ProJuci of Bristol-Mytrs 



SEPTEMBER, 194? 



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The minutes of the last meeting, read 
and approved, placed "Mrs. Miniver" 
right up there on all ten-best film lists 
of all-time. Now we can get on to pre- 
sent and future business. 




Clark Gable (Honky) and Lana Turner 
(Tonk) ignite again in "Somewhere I'll 
Find You". 




"Tish", based on the popular stories by 
Mary Roberts Rinehart, dusts off the 
mantle of Marie Dressier and tenders it 
toMarjorieMain, who plays the title role. 




The inimitable Mickey Rooney becomes 
"A '^ank at Eton" and the role becomes 
Mickey Rooney, 




.ludy Garland's out-and-out starring 
vehicle is one of the out-and-outstand- 
ing entertainments on the horizon. 
"For Me and Mv Gal", 




"Red" Skelton and Ann Sothern are in 
"Panama Hattie". You'll see Red — 
and Ann. 






"Random Harvest", the James Hilton 
best-seller, is in the able hands of Di- 
rector LeRoy and stars I^onald Colman 
and Mrs. Miniver Garson. 

"Seven Sweethearts" brings promi- 
nently to the fore those up and coming 
artists, Kathryn Grayson, Van Heflin 
and Marsha Hunt. 

★ ★ ★ ★ 

This completes the agenda for pictures 
current and in the immediate making at 
M-G-M, whose promise of 
great motion picture en- 
tertainment has always 
been fulfilled. 

★ ★ * * 
Your Miniver 
Man— 




SEPTEMBER 1942 



ik:^ n m no. cs::) 



VOL 21, NO. 4 



HIGHLIGHTS OF THIS ISSUE 

Paulette Goddard — Woman of Daring Adela Rogers St. Johns 28 

If I Were Queen of Hollywood Dorothy Kilgallen 30 

Romance for the Lonely "Fearless" 32 

Bombardier's Bride Rilla Page Palmborg 34 

This Ladd for Hire John R. Franchey 36 

Judge for Yourself — We Quit! 37 

How to Get the Job You Want Dorothy Haas 40 

Anna Neagle's London Diary Edited by Marian Rhea 44 

Flying Tigers Fiction version by Will Oursler 47 

What Hollywood Thinks of Jean Arthur William F. French 49 

Keep Punchln" Jim Tully 50 

Little Miss Dynamite Roberta Ormlston 52 

Highroad to Hollywood Dixie Wlllson 56 

Bogle on the Spot! Humphrey Bogart (as told to Sara Hamilton) 64 

Mr. and Mrs. John Hertz Jr Adele Whitely Fletcher 67 

Terse Verse Jay Keys 83 

One-Minute Story Claudette Colbert 84 

GLAMOUR 

Color Portraits of These Popular StarsrGInger Rogers . . 35 Betty Groble . . 38 
Carole Landls . . 38 Rita Hayworth . . 39 Jinx Fal kenburg . . 39 Joan 
Leslie.. 42 Robert Taylor.. 43 John Carroll ..46 Gallery Photographs: 
Doris Dudley . . 54 Henry Fonda . . 55 Brian Donlevy . . 66 

FASHIONS, BEAUTY NOTES AND DEPARTMENTS 
Close Ups and Long Shots — Ruth Waterbury . . 4 Speak for Yourself .. 6 
Inside Stuff— Cal York .. 8 Brief Reviews .. I 8 Take the Plunge! .. 20 The 
Shadow Stage . . 23 On The Date Front . . 59 You Con Look as Smart as 
a Star . .62 Costs of Current Pictures . . 101 Lemon-aid . . I 06 

COVER: Priscilla Lane, Natural Color Photograph by Paul Hesse 



FRED R. SAMMIS 

Executive Editor 



HELEN GILMORE 

Editor 



ERNEST V. HEYN 

Editorial Director 

EDMUND DAVENPORT, Art Director MARIAN H. QUINN, Assistant Editor 



PHOTOPLAY combined with MOVIE MIRROR is published monthly hy MACFADDEN PUBLICATIONS. INC., W.^shlnRtoa 
and Soulh Avonufs. Duncllon, Now Jersey. Cencral biisinoss. .nlvcrlisinK and iHiltorlal olticcs: 'J05 East J:2nd Street, 
New York. N. Y. O. J. Elder. President; Haydock Miller. SocreiaiTl Charles H. Shattuck. Treasurer: Waller Hanlon, 
Adveitising Manager. Chicaco office, 22 1 North LikShIIg St.. E. F. Lethen. Jr.. M?rr. Pacific Coast Oflioe: San 
Francisco. 420 Market St. , Lee Andrews. Mpr. Entered as second-olass matter Septeml>or 21. 1931. at Uie post 
olhce in Dunellen. New Jersey, under the act of March 3. 1879. Additional entr>- .M Chicano. lU. Price in th« 
United States and Possessions. Canada and Newfoundland. Sl-50 n year; price per copy. United States and Ctnada. 
1,'jc In Cuba. Mexico. Haiti, Dominican Republic. Spain and Possessions, and Central and South American c^nmines, 
exceptinR British Honduras. Brtttsh, Dutch and French Guiana. S2. ."iO a year; In other countries S3. 50 a year. 
While Manuscripts. PhotoCTaphs and Drawings are submitted at the owner's risk, over>" eflTort will be made to 
return those found unavailable If accompanied by sutHcient first-class postajre and explicit name and address. 
But we will not be responsible for any loss of such matter contributed. Contriliutors are csi>eciaH>- advised 
to be sui"e to retain copies of their contributions, otherwise they are taking an unneces*ar>- risk. 

Member of Macfadden Women's Group 
Copyrteht, 1942, by Macfacden Publications. Inc. Copyright also In Canada. Registered at Stationers* Hall, 

Great Britain. 

The contents of this magazine may not l>e reprinted either wholly or »n part without pemilssloa. Kegistro 
Naclonal de la Propiedad Inielectual. Title tradem.irk registered In U. S. Patent Office. 
Printed In U. S. A. by Art Color Printing Co.. Dunellen, N. J. 



2 



PHOTOPLAY com biJied with movie mirrob 



He's Never Beaten 
A YANK AT ETON 
Mickey Rooney's 
Ail-Time Topper! 




EPTEMBER, 1942 



CLOS[ UPS 

m im SHOTS 




Gig Young, wf-o 
did so well in 
"The Gay Sisters 
better watch ou"! 




Alan Marshall, 
worth his weight 
in rubies, is up 
for investigation 



New kind of sex appeal is inaugurated by Rosalind 
Russell, who won stardom without false eyelashes 



BY RUTH WATERBURY 



WHOEVER thought up the 
word "should"? It's a won- 
derful way to daydream 
without its costing a cent. . 

For instance, all these girls who are 
fine actresses but not overwhelmingly 
beautiful enough to be glamour girls 
should stop trying to be imitation 
Bette Davises . . . Bette is unique 
and terrific and she can play un- 
pleasant dames in a manner that 
makes them linger forever in your 
memory . . . but when a forthright, 
unaffected actress like Barbara Stan- 
wyck plays one of those lethal ladies 
in "The Gay Sisters" she does herself 
an injustice . . . Ida Lupino hasn't done 
her career too much good by always 
being compared to Davis, either . . 
if the girls just must be meanies on 
the screen, they ought to get a new 
pattern of sheer cussedness . . . Davis 
has a magnificent monopoly on hers . . . 

All those up-and-coming darlings 
who want to be comediennes should 
see every picture of Rosalind Russell's 
. . . remember, kiddies, that once 
upon a time ... all of three years 
ago . . . they were saying that Rus- 
sell was "through" all on account of 
her not being any sweater girl, of not 
having the obvious false-eyelash-long- 
hipline type of sex appeal . . . but 
Roz has proven that there can be 
mental sex appeal and that there is a 



public, male and female both, subtle 
enough to appreciate that . . a big 
enough public, in fact, to pay Roz 
$150,000 a picture for as many pictures 
as she can do per year — right now 
about four per annum. . . 

The cases of Alan Marshall, Philip 
Dorn, Glenn Ford and George San- 
ders should be investigated . to 
find out why they are being wasted 
in this year when men are worth their 
w-eight in rubies . . . Marshall should 
be put to work regardless . Glenn 
Ford should be given some properly 
young, light roles instead of those 
lead-deady things like "Martin 
Eden" he's had so far . . . Dorn 
should be rescued from playing Dr. 
Gerniede in the newest "Kildare" 
which is titled "Calling Dr. Gillespie" 
and is a thriller but it's still a "B" . . . 
and star Sanders should be in a series 
of pictures in which he could be at 
once romantic and a heavy, as Gable 
was when he first came to fame. . . 

Frank Morgan ought to be put right 
into one of the priestly roles in "The 
Keys of the Kingdom" not alone as a 
reward for his magnificent work in 
"Tortilla Flat" but as a guarantee that 
the true spirit of religion would be 
captured on the screen . . . and next 
year's Academy Oscar for "the best 
supporting actor" should go to Frank 
for his inspiring, touching scene in 



"Tortilla" where he tells his dogs 
about the legend of St. Francis . a 
scene that can mean so much to any 
one who needs renewed faith 
furthermore Morgan should never 
again be wasted on one of those silly, 
fluttering roles with which he has so 
long been afflicted. . . . 

What about a quiet talk with Mac- 
Donald Carey and Gig Young to tell 
them that while both of them were 
most delightful in their initial screen 
appearances . . . Carey in "Take a 
Letter. Darling" and Young in "The 
Gay Sisters" . . . they had better 
watch out that they aren"t too charm- 
ing for all endurance, both of them 
coming dangerously close to it in these 
debuts. 

METRO merits some congratula- 
tions on their sheer good sense 
in having promoted Jules Dassii' 
from "B's" to "A's" on the strengti 
of this young man's direction of "Naz. 
Agent" . . . but Conrad Veidt shoulo 
be rew^arded with a fine "A" role, too 
for his magnificent acting in the 
double-role lead in that film . . . there 
should be no further wasting of a 
great performer like Veidt . . . and 
harsh words are certainly in order 
to the Brothers Warner about throw- 
ing away Ann Sheridan on a dull dish 
like "Wings {Continued on page 17) 



4 



PHOTOPLAY combined with movie mirror 




^HEIR darkened house 
sheltered their hushed story.. 

BUT IT COULDN'T HIDE THEIR JoWESl 

To meet them is to love them — but to love them 
is dangerous! Every strange episode in the lives 
of these girls that the town called bad emerges 

starkly from the furious 
happenings of Stephen 
Longstreet's talked- 
about best-seller. 
See it lived! See 
it the moment 
it opens in 
your city! 




BARBARA 



STANWYCK 



as FIONA... She couldn't live down 
her reputation— so she lived up to it! 



GEORGE BRENT 



as CHARLES . . . Tricked into a 
marriage he couldn't forget! 

GERALOINE 



FITZGERALD 



The Story of the Startling Loves of 



The 

Gay 
2>isters 



as EVELYN, who lived as she pleased 
'til a kiss changed everything! 

DONALD CRISP-NANCy COLIAN-GENE LOCKHART 

Larry Simms- Donald Woods • Directed by |(|V|NG RAPPER 



^ have turned another great novel 
^ into another great screen event! 

creen Ploy by Lenore Coffee • Based Upon the Novel by Stephen Longstreel . Music by Max Sterner . REMEMBER YOUR WAR BONOS AND STAMPS' 




1^ WARNER BROS. 



»VEMBER. 1942 




$10.00 PRIZE 
The Bonnets Are Humming 

HOLLYWOOD gives us "B's"; if 
I visited there I'd like to put 
"bees" in people's bonnets, too. 
I'd tell Veronica Lake to cut her 
hair into a short bob. That shaggy 
mop makes her resemble a female 
Dead-Eye. 

I'd tell Blondie to wear cotton 
dresses and not frilly silk ones while 
doing housework. 

I'd slip a grasshopper down the 
back of Vii-ginia O'Brien while she 
was singing in her clever dead-pan 
manner. 

I'd co-star Nelson Eddy with Lana 
Turner — then watch his reserve melt 
away! It would be an exciting com- 
bination. Then I'd give him back to 
lovely Jeanette, they being a superb 
team. 

I'd picket M-G-M until they agreed 
to let Robert Taylor wear a moustache 
in every picture; and make Jeanette 
MacDonald of the vivid coloring ap- 
pear only in technicolor movies. 

Finally, I'd greet Victor Mature 
with a frigid, "Oh, so you're the beau- 
tiful punk of man!" 

Elizabeth Pignatelli, 
Providence, R. I. 



$5.00 PRIZE 
Off His Chest 

THERE is a familiar ditty to the 
effect that "John Brown's baby had 
a cold upon its chest." I, too, have 
something upon my chest, but in this 
case it is hot, not cold! It is this: 

In these days of tire-conservation 
and gas-rationing, local amusements 
are going to mean more than ever. If 
we can't get away from town, then we 
are going to have to find our fun in 
town. What better place than a good 
movie? But . . . and just here is the 
rub ... it must be a good movie! This 
means comedy, pathos, acting. It 
means more pictures like "How Green 
Was My Valley," "Remember The 
Day," "One Foot In Heaven" and 
"Sergeant York" . . . and fewer pic- 
tures like "Two-Faced Woman" and 
"The Lady Is Willing." 

The greatest opportunity and the 
greatest audiences Hollyowood has 
ever had are here. Whether they 
capitalize upon it or not will be de- 
termined largely by the type of pic- 
tures they turn out. We're ready to 
go and see them . . . but they've got 
to be good! 

Rev. Willis J. Loar, 
Spokane, Wash. 



$1.00 PRIZE 
Sister Act Gone Sour 

ONCE upon a time, Mickey Rooney 
had a sister ... a sweet, unso- 
phisticated kid, who walked out of 
the picture, pigtails and all, and into 
our hearts. Now, in the space of two 
years, she's been developed into a 
"Glamour-Puss." You guessed it! 
Virginia Weidler! 

Why, in the name of all the sacred 
catfishes, must Hollywood take an in- 
dividual like Virginia and turn her 
into the same old mold of blase young 
thing we have seen over and over? 
Why not let Virginia be Virginia, not 
Deanna, or Judy, or anyone else but 
the adorable personality that appeared 
in "Young Tom Edison." We laughed 
with her and cried with her; there was 
the real spark of genius in that lanky 
little figure. Now — behold the hair- 
do and the formal . . . but no Virginia! 

Please, oh please, give us back the 
original Virginia, sans braids if you 
must, but minus sleekness and sophis- 
tication. 

Elsie H. Fox, 
National City, CaL 

$1.00 PRIZE 
Speaking Of Speech . . . 

HAT movie voices remind me 

Andy Devine's . . . slate pencil on 
glass. 

Bogie-man Bogart's . . . rat-a-tat- 
tat of machine guns. 

Billie Burke's . . . the tinkle of ice 
in a glass of sparkling ginger ale. 

Eugene Pallette's . . . the mournful, 
deep-throated call of a bullfrog. 

George Sanders's . . . sudden sharp 
crack of a pistol in the dead o' night. 

Clark Gable's ... a stout-hearted 
oak resisting a stinging nor'wester. 
(Continued on page 79) 



PHOTOPLAY-MOVIE MIRROR awards the 
following prizes each month for the best let- 
ters submitted for publication: $10 first prlie' 
$5 second prize; $1 each for every other lette' 
published in full. Just write in what you think 
about stars or movies, in less than 200 words. 
Letters are judged on the basis of clority 
and originality, and contributors are warned 
that plagiarism from previously published 
material will be prosecuted to the full extent 
of the law. Please do not submit letters of 
which copies hove been made to send to 
other publications; this is poor sportsmonship 
and has resulted, in the past, in embarrass- 
ing situations for all concerned, as each letter 
is published in this department in good faith. 
Owing to the great volume of contributions 
received by this department, we regret that 
it is impossible for us to return unaccepted 
material. Accordingly we strongly recom- 
mend that all contributors retain a copy c' 
any manuscript submitted to us. Address your 
letter to "Speak for Yourself," PHOTOPLAY- 
MOVIE MIRROR, 205 East 42nd St., New 
York City, N. Y. 



6 



PHOTOPL.^Y combined u-ith movie mirros 




Here's the intimate story of 
a man millions idolized. lie 
fought his way to the top— 
and then he met Herl To- 
gether they reveled in life 
and love. But there was one 
secret they tried to keep 
from each other— and out of 
their struggle comes one of 
the screen's most dramatic 
and touching romances. Pre- 
sented by Samuel Goldwyn, 
who gave you some of the 
Gnest films you've ever seen. 




SAMUEL GOLDWYN presents 



GARY COOPER 

in 

THE PMUDE OF THE 



(THE LIFE OF LOU GEHRIG) 

with 

TERESA WRIGHT- BABE RUTH -WALTER BRENNAN 

VELOZ and YOLANDA • RAY NOBLE and his Orchestra • Directed by SAM WOOD 
Screen Play by Jo Swerling and Herman J. Mankiewicz 
Original Story by Paul Gailico • Released through 
RKO Radio Pictures Inc. 

WATCH FOR IT AT 
[YOUR LOCAL THEATRE 



f PTEMBER. 1942 



Jni^lde otuff 



ALICE FAYE'S Nurse Speaking: At 
five o'clock in the evening of 
' May 15, 1942, a turquoise blue 
coupe stopped in front of the Cedars 
of Lebanon Hospital in Hollywood. A 
tall dark man with wavy brown hair, 
dressed in brown sport clothes, ten- 
derly helped a woman from the car. 
She wore a tan cashmere coat over a 
dark blue silk dress. A blue kerchief 
tied around her head kept her blonde 
curls in place. 

Slowly, because the woman was in 
pain, they made their way into the 
hospital and to the admitting office. 
The man registered there for his wife 
—Mrs. Phil Harris. 



That was on Friday. On Sunday 
Mr. Harris had to leave town, to 
broadcast from an Army camp fifty 
miles away. Still no baby! But no 
complaints from Alice, though her 
face was beginning to show strain. 

At last, at midnight Monday, the 
doctors held a consultation and de- 
cided they would have to perform a 
Caesarean operation. They called Mr. 
Harris at the Biltmore Bowl and he 
was at the hospital immediately, 
brought from downtown by police 
escort. 

As Alice was given her last hypo- 
dermic before surgery, she looked up 
at Mr. Harris and said, "Don't leave 



me." And he didn't. Into the operat- 
ing room he went and, with a drawn 
and haggard face, sat quietly until, 
at 2:40. he watched his daughter come 
into the world. 

When the nursery nurse reported 
that the baby weighed 7 pounds, 2^2 
ounces, Mr. Harris began passing out 
cigars to all the doctors, internes and 
other fathers who were waiting. Then 
he dashed to the telephone. 

Telegrams, telephone messages, 
flowers began to pour in. The first 
were two dozen American Beaut> 
roses from Mr. Harris. Ann Sheridan 
and Mr. Brent sent dozens of white 
carnations. In the middle of the bou- 



8 



PHOTOPLAY combined with mo\ie mikror 







I 



Bigger smiles make better banquets! 
Bruce Cabot and Dorothy Lamour 
give out with grins, are the star life 
of the party at the Cocoanut Grove 



Cuddle up a little closer, just for a 
picture: A sailor boy (he's her husband. 
Buddy Westmore!) gets together 
with Rosemary Lone at the Mocambo 



iquet was a white woolly lamb with 
a little music box inside that played 
■'Merrily We Roll Along." 

From Mr. Benny and Mary Living- 
stone came a large tray with hand- 
painted glass nursery jars holding 
roses and forget-me-nots. Tucked 

' under the flowers was a cloth monkey 
'dressed in bright-colored clothes. 

Mr. Clark Gable sent a large bou- 
quet of white gladioli and long- 
stemmed pink roses. There was a doll 
-radle filled with pink sweet peas that 
played Brahms's lullaby; a doll car- 
'■iage with pink roses and lilies of the 
valley; a bird cage of orchids; a pillow 



of gardenias; a huge bouquet of white 
lilacs and pink carnations from Den- 
nis Day. 

For five days Alice was so ill no one 
but her husband was allowed to see 
her. But gradually she grew stronger 
and would hold the baby as long as 
the nurse would allow her to. 

She had Mr. Harris bring her things 
from home. She was worried about 
his packing them, but he brought all 
the right things — pale pink nighties 
and bed jackets with A.F.H. in pale 
blue; a white chiffon gown with gold 
lace; a pale green nylon gown and 
jacket; her perfume bottles and silver 



toilet set, engraved "Alice.' 

Her engagement ring was a pear- 
shaped diamond and her wedding 
ring — which she insisted be left on 
during surgery — was a circle of 
diamonds. 

As Mr. Harris was to leave to go 
on tour with his orchestra on Mon- 
day, June 1, the doctor finally con- 
sented that Alice be discharged 
Sunday noon. 

Miss Faye gave the nurses who took 
care of her sets of cologne, soap and 
perfume in cases. To the floor nurses 
went great boxes of candy. 

Again the blue turquoise coupe 



iEPTEMBER, 1942 



9 



cliche, "Like 
like daughter" 
and-new slan^ 
e n e Die + rich 
n Gabin come 
ax Reinhardr 
production o^ 
g Becomes Elec- 
in which Mar- 
daughter Mario 
rt (below, as 
'a) blossomec 
as such a gooc 
ess Paramount im- 
tely signed he- 




came to the hospital, but this time to 
the ambulance entrance. Mr. Harris 
carried Alice Faye from a wheel chair 
to the car, then took the baby from 
the nurse and gave it to the mother. 
Together they drove away, the nurses 
following in another car with the bags 
and presents. 

And so was a star's baby born. 

It's the Little Things Department: 

The trailer Guy Kibbee used on hunt- 
ing trips is now used as a card room 
in his backyard, with the followin 
sign on the door: "Be it ever so sta- 
tionary, there's no place like home." 
. . . Bob Stack is quite a dish with 
his blond locks dyed dark. It gives 
him oomph. . . . Sabu had his tonsils 
out. He kept his turban on, however. 

Deanna Durbin will not sell her 
house while husband Vaughn Paul is 
in the Navy. Her sister, brother-in- 
law and baby have moved in with 
her. 

Jimmy Stewart says everyone in 
Hollywood looks so old to him now 
that he's the only man in his Army 
tent who has to shave every day. . . . 
Some wag suggests John Howard 
must be hoarding rubber in his boots, 
the way he bounced back to Hedy 
LamaiT after the George Montgomery 
breakup. 

Back Home in Glendale: The "For 
Sale " sign on Bette Davis's house in 
near-by Glendale has been taken 
down and Bette and her husband 
Arthur Farnsworth have decided to 



move back in— the steenth move for 
Bette in a few short years. 

Bette explained to Cal why she sud- 
denly changed her mind after of?ering 
to sell her home. 

"If I sell at a profit, that throws me 
into a higher tax bracket, so I lose 
money. Obviously, if I sell at a loss 
I take a loss. If I live anywhere else, 
we pay high rent. So we finally 
realized we ought to live in our house. 

"Anyway, it's the best house we 
ever had." 

But don't be surprised if Bette is 
somewhere else by the time you read 
this! 

Thought We'd Mention That: It 

may mean nothing at all but Lana 



Turner brought out the old supply of 
sweaters before embarking on a 
northern bond-selling tour, and did 
the frozen north melt into a bond- 
buying spree! Just mentioned it. 
girls, that's all. 

The small Arizona auto court where 
Laraine Day and her new husband 
Ray Hendricks spent a night of their 
honeymoon has been renamed "La- 
raine Day Honeymoon Cottage" and 
is doing a wow business, according to 
its owner. 

Those two pals of many a day. Errol 
Flynn and Bruce Cabot, had a serious 
row at a party the other night over the 
beauty. Faith Dorn. But Miss Dom 
still protests she's engaged to Howard 
Hughes who is so enamoured of Lana 



10 



PHOTOPLAY combined with movie mirrof 





New -Texture Face Powder 
Makes Her Skin Look Years Younger! 

By ts:^^^^C^^^ 



ONCE THIS lovely girl looked quite a 
bit older. Some people actually 
thought she was approaching middle age. 

For she was the innocent victim of an 
■unflattering face powder! It was a cruel 
■ powder, both in texture and in shade- 
showing up every tiny line in her face— 
jaccenting every little blemish and skin- 




A (;,;' morf hrauliful women use Lady Esther 
Face Prrrdcr than any other kind. 



tault— yes, and even making the pores 
seem somewhat bigger, coarser! 

But look at her now! Can you guess 
her age.? Would you say she is21— 30— 35.' 

She has changed to Lady Esther Face 
Powder— the powder with a new and dif- 
ferent texture. Lady Esther Powder is 
deliberately planned to flatter the skin, to 
make it look smoother, fresher, younger! 

Lady Esther Face Powder is not mixed 
or blended in the usual way. It's blown 
by TWIN HURRICANES until it's much 
smoother, finer, than ordinary powder. 

But it's not the texture alone that's so 
different! The TWIN-HURRICANE method 




FACE POWDER 



makes the shades different, too! Just im- 
agine—hurricanes blow the color into this 
amazmg powder! That's why the shades 
are so rich and glamorous. That's why 
Lady Esther Powder makes your skin 
look so much fresher, younger. 

Try this hurricane-blended face pow- 
der! See how it helps hide little lines and 
blemishes, helps hide big pores and even 
tiny freckles! See how it gives instant 
new life and freshness to your skin— how 
it makes your skin look years younger. 

How to find your Lucky Shade 

Send your name and address on the cou- 
pon below and you will receive all 7 new 
shades of Lady Esther Face Powder. Try 
them all! When you come to the one that 
is most flattering to your skin you'll 
know that is your lucky shade! 



Lady Esther. (7y) 

7134 West 65th Street, Chicago, III. 
Please send me by return mail your 7 new 
shades of face powder, also a generous tube 
of 4-Purpose Face Cream. I enclose lOf to 
cover the cost of packing and mailing. 



In Canada, write Lady Esther, Toronto, Ontann 



tPTEMiKk 1942 



11 



I 





New Louisiana Cafe sees a couple 
with news to tell: Franchot Tone 
and his wife conne to celebrate the 
fact they'll have stork business 



Threesome turns into two with but 
a single thought. Admiring Claire 
Trevor at the Cocoanut Grove are 
Phil Reed and new star Glenn Ford 



Turner he has the most expensive 
Hollywood restauranteur cater her 
meals while she's aboard planes — 
which is often. 

It Occurred to Cal: Columnists, 
fans and press agents can now take a 
vacation with their minds at rest con- 
cerning the marital status of George 
Sanders. "Is he or isn't he married?" 
has been the burning question tossed 
about town for a long time. 

Well, it's over now. Mrs. Sanders 
herself came forth with the confirma- 
tion of her marriage to the actor at the 
very moment Mr. Sanders was being 
seen here and thereabouts with a 
pretty actress. 

''We were married October 27, 1940, 
by the Reverend Mr. Glenn Phillips 
in the Hollywood Methodist Church," 
she said. "And I have no thought of 
divorce. I'm a broad-minded wife and 
permit my husband to live his own 
life." 

"Permit" seems an understatement 
to Cal. Fancy dictating to old Georgie 
Porgie. 

Mrs. Sanders was Elsie M. Poole, 
an actress professionally known as 
Susan Larson. The pair met on the 
Twentieth Century-Fox lot. Mrs. 
Sanders has given up her career since 
her marriage to George. . . . 

Perhaps when Professor Theodore 
C. Flynn, father of Errol, arrives in 
America from Ireland for a lecture 
tour this summer, he'll resort to a 
little private lecture for his son's bene- 
fit on How Not to Get Mad at People 
in Public. . . . 

Clark Gable in his uniform of Major 
in the Army will not only be one of 
the handsomest men in service, but 
one with his heart cased for the first 
time since Carole Lombard's death in 
the knowledge he is being useful to 
his country. 



Kiddies Can Help Corner: Children 
of motion-picture parents have caught 
the spirit of war activities and are 
eagerly doing their bit to help. The 
two children of Dick Powell and Joan 
Blondell, for instance, are conducting 
a lemonade stand near their Selma 
Avenue home, with the proceeds going 
into War Stamps. Virginia Bruce's 
daughter is a rubber and old tin col- 
lector in her neighborhood and has 
already accumulated a good-sized 
collection. 

Joan Bennett's two daughters have 
foregone their usual summer vacation 
at a girls' camp to join the Junior 
Auxiliary of the A.W.V.S. The girls 
are supervising Victory Gardens and 
running errands for the senior or- 
ganization. 

Sandra and Ronnie Burns, children 
of George and Gracie, have asked to 
be allowed to speak over the radio to 
other children, asking them to spend 
part of their allowances for War 
Stamps, and Bob Young's two girls 



are eager to write to other children 
throughout the States who might 
have good ideas and ways to help 
Uncle Sam. If your children are in- 
terested have them write Carol Ann 
and Barbara Queen Young, in care of 
their father at Metro-Goldwyn-Mayer 
Studios, Culver City, CaUf., or get in 
touch by mail with any of the stars' 
children anent this idea. 

These HoUj'wood kids are reaUy in 
earnest. 

Quotes From the Famous: Errol 

Flynn on his shortcomings as a hus- 
band: "Maybe I'll be a better husband 
as time goes on, but it will take a lot 
of time." 

Victor Mature on his love for Rita 
Hay worth: "This is the one thing in 
my life that isn't publicity. Somehow 
I feel Rita has changed my whole life." 

Laird Cregar on gossip: "Why do 
people take the trouble to spread 
rumors behind my back? They're all 
true, anyway." 



12 



PHOTOPLAY C077lbi7ied with MOVIE MIRROi; 



''It's from Edna . . . 




She and Bob have 




The poor darling! I thought 
they were as good as engaged. 
What's the trouble?" 

"She doesn't give any specihi 
reason. Just says that he'd been 
acting indifferent for some time- 
then last week he up and married some- 
body else. But that isn't the worst of it! 
She lost her job again." 

Aunt Vi's face fell. "It doesn't sound 
possible! Every letter told how well she 
was doing. Getting such a nice position 
seemed our reward for all the sacrifices 
we made to put her through college." 

Mrs. Black's hand trembled: "Well, 
there it is. You can read the letter your- 
self. Poor dear." 

"But doesn't she give any reason.?" 

"No, just says that Mr. Brownley told 
her they wanted an older woman." 

"W'ell, one thing I'm certain of," said 
Aunt Vi, with finality, "it wasn't Edna's 
fault. It simply couldn't be!" 

You May Not Know 

But it 'jvas Edna's fault . . . just as it 
can be the fault of countless other wom- 
en. And like so many of these women, 
Edna was the last to suspect it. 

Halitosis (bad breath) may endanger 
every social charm, every business talent. 



The insidi- 
o u s thing 
about it is that 
the victim may 
not be aware of its 
presence. Who would blame 
a man for losing interest in a woman, 
or an employer for "easing out" an em- 
ployee with that kind of a breath? 

Don't Risk Offending 

Isn't it foolish to run the risk of offend- 
ing this way when there is an easy and 
delightful precaution against it? 

Simply rinse the mouth with Listerine, 
notable for its amazing antiseptic power. 
Almost immediately the breath becomes 
fresher, sweeter, less likely to offend. 

While some cases of halitosis are of 
systemic origin, it is the opinion of some 



authorities that 
most cases are 
caused by bacterial fer- 
mentation of tiny food particles on teeth, 
mouth and gum surfaces. 

Listerine Antiseptic, because it is 
liquid, spreads far and quickly halts such 
fermentation, then overcomes the odors 
that fermentation causes. If you want to 
put your best foot forward, never, never 
omit the Listerine Antiseptic precaution. 
Lambert Pharmacal Co., St. Louis, Mo. 



A CHALLENGE 

We'll make a liule wayer with you that if 
you try one tuhe of the new Listerine 
Tooth Paste, vou'll cotne back for more. 



LISTERINE ANTISEPTIC for oral hygiene 

SEPTEMBER. 1942 13 





WHAT 
COULD BE 
NICER? 




. . . There's nothing like 
a man around the house 
during those long winter 
nights," sighs Liz Cugat 
(Betty Field). "After all, 
whom else could we girls 



marry 




The Bride Sneezed: Margaret Hayes 
debated a long time about attending 
the theater with the bad cold that 
seemed to have taken lodging within 
her lovely head. But, after all, her 
boy friend Jeffrey Lynn had gone to 
the Army and Margaret was lonely, so 
she went. 

Halfway through the performance, 
Margaret was seized with a coughing 
spell. A young man, a stranger to 
Margaret, leaned over and asked what 
he could do. Could he get her water? 

Margaret shook hei- head no. 

But the handsome blond fellow 
wasn't to be put off. He dashed off 
and returned with both aspirin and 
water and a week later took himself 
off to Reno to divorce his estranged 
wife, Frances Farmer. 

At the end of the allotted time Leif 
Erikson — for our hero was none 
other than he, as the old-fashioned 
meller-drammers were wont to say — 
married the lady with the cold. 

Hollywood hopes Margaret and Leif 
will be happy. 

And Jeffrey Lynn? Well, Cal 
couldn't reach him to find out how he 
felt. We hope not too sad. 

The Ladies Say No: Judy Garland 
is so bitter at certain of the local press 
for those rumors of unhappiness with 
husband Dave Rose she threatens to 
grant no more interviews. Dave gave 
her sables for her birthday, inci- 
dentally, and both seem very happy. 

Bette Davis, on the other hand, ig- 
nores the printed rumors of her im- 
pending divorce. "Shucks, it makes 
interesting reading for me in the 
papers," Bette says blithely. 



Kathryi! Grayson claims her an- 
nounced divorce from John Sheltoi 
was a bit premature and the two wil 
not get a divorce as planned. A 
least, that's the lady's decision at thi 
moment. 

Advice to Lovelorn: Ruth Husse;. 
is a girl who answers her mail. Asl 
the man who's written her. Also asV. 
little Mary Sanders of Santa Monic; 
who wrote a pathetic letter to RutV 
about her social problems. Mary fel 
she was unpopular because she wasn 
beautiful and didn't know how ti 
"sling a line." She was doggon< 
miserable about it, too. 

"A lot of people ask for ad%'ice. 
Mary wrote, "but I'm one who no" 
only asks but takes it." 

Ruth sat down and answered thai 
letter. 

"Don't think about your looks. I" 
makes you too self-conscious anc 
that feeling of being nervous and il!- 
at-ease is conveyed to others. 

"Don't sit around and wait for boy.- 
and girls to invite you out. Invite 
them to your house and provide fun 
and amusement. 

"And don't, above all. beheve the 
old bunk about being a good hstener 
Talk. Say things. Keep the conversa- 
tion going." 

Two weeks later Ruth had an an- 
swer from a happy girl. 

"It worked," she wrote, "and thank 
you so much, dear Miss Hussey. A 
nice boy has asked me out twice and 
I have two girl friends who telephone 
me every day after school and ask me 
to their homes. See, I told you I take 
advice easily." 

Palms up at the Beverly Wilshire 
for a popular Mr. and Mrs. two- 
some: John Garfield and Mrs. 
Garfield, who match up nicely here 



BUY WAR STAMPS AND BONDS 



14 




PHOTOPLAY C01!l()i?lCd U'itll MOVIE MIRROR 




A "says Hank to Frances" pose 
of Henry Fonda and his wife 
at the Cocoanut Grove for the 
big nnilitary ball that was 
given for Army and Navy Relief 



We thought we'd pass the word 
along — just in case any of you might 
like to try the Hussey formula. 

Marriage Merry-Go-Round: From 
somewhere down in the Bahamas, 
Mr. Stirling Hayden announced to the 
world at large that he and Miss 
Madeleine Carroll had been married 
in an undisclosed Connecticut town 
three months ago. The world at 
I large was mighty interested — and so 
; was Hollywood, although the report 
• has it that, on Stirling's last visit to 
the Coast, he tried to announce his 
marriage and was given the good old 
\ Hollywood laugh. 

j Anyway, that's that; and this is 
] this — which is a mighty interesting 
little story Cal picked up with his 
, good right ear. Seems a few months 
ago there was a lady who had a lovely 
: home for rent up in Connecticut, a 
' house by the sea, with a nice, private, 
closed-in garden. One evening the 
real-estate agent appeared. He had 
rented the house to two young people 
— providing the lady of the manor 
: could move out right that night. So 
' she did, her poor heart doing double 
; time after she'd had one look at her 
leasees — Stirling Hayden and Mad- 
ii eleine Carroll! 

jj Cal remembers, too, how Stirling 
; looked way back in the spring of 1941, 
when he was being interviewed on 
, what he thought made girls attractive 
and Madeleine Carroll's name came 
1 up. Mr. Hayden, blushing like a 
, schoolboy with his first crush, mum- 
, bled something about the fact that 
\ she was just so wonderful he couldn't 
talk about her. Seems he decided to 
talk to her, instead, and she said 
"I do," and there's another happy 
marriage for the Hollywood books! 



HOW A YOUNG WIFE OVERCAME THE 
"ONE NEGLECT- 
THAT RUINS SO MANY MARRIAGES 




I. Everyone called us "the ideal < oupIe." At first, we were . . . ideally happy. 
But gradually, Chet neglected me . . . more and more. I wa.s niiserablo . . . 





2. One morning, my chum found me crying. 
I didn't want to, hut she made me tell my 
troubles. Then . . . "Little silly," she scolded, 
"it'.s happened often. The loveliest girl can 
lose her husband if she's guilty of one neglect. 
Carelessness about feminine hygiene (intimate 
personal cleanliness)." Then she e.xplained . . . 



3. "My doctor," slie told me, "recommeiuls 
I.ysol disinfectant — and here's why. /Lysol 
cleanses thoronghb/ and deodorizes, too. Yet 
it's so gentle it won't harm .sensitive tissues — 
just use it according to the easy directions on 
the I>ysol bottle, (jcnerations of women have 
used Lysol for personal hygiene." 




4. Thanks to her, T use Lysol regularly. It is so 
easy to use, so inexpensive. Today, Chet and 
I are ideally happy, once more! More women 
ought to know about Lysol disinfectant. 



Check this with your Doctor 

Lvs()l is NON-l Al STIt — ;;. iitle and 
efficient in proper dilution. Contains no 
free alkali. It is not carbolic a<'id. 
EP'FECTIVE— a powerful pcrmirirfc. ac- 
tive in presence of organic matter (such 
as mucus, serum, etc.). SPRE.\I)INCi — 
Lysol solutions spread and thus virtu- 
ally searrh out germs in deep crevices. 
ECONOMICAI,— small bottle makes al- 
most 4 gallons of solution for feminine 
hygiene. CI.E.WI.V ODOR— disappears 
after use. I,.\.STI NO — Lysol keeps full 
strength indelinitely, uo matter liow 
often it is uncorked. 




CoDr., I94'2. by Uihn & Fink 



^fW For new FREE booklet fin plain wrapper) about Feminine Hygiene, send poslcjird 
or letter for IJooklet P.^L^L-9^->. .Address Lehn & I'ink, Hloomfield. N. J. 



SEPTEMBER. 1942 



15 




PROVE IT. . . at our Expensel 



MARY ANDERSON in Paramount's 
"Bahama Passage" uses GLOVER'S 

Use GLOVER'S, with Massage, 
for Loose Dandruff, Excessive 
Falling Hair and Itchy Scalp! 

WE want yt)u to pfovc to yourself that 
Glover's famous application will help 
you have more attractive hair! Hundreds of 
thousands of men and women have used 
Glover's for many years, and their continued 
use shows that Glover's gets results! Try 
GLOVER S with massage, for Dandruff, Itchy 
Scalp, and Excessive Falling Hair. You'll actu- 
ally feel the exhilarating effect, instantly. Ask 
your Druggist for Glover's Mange Medicine 
and the new GI.O-VER Beauty Soap Shampoo. 

MAIL COUPON TODAY! 

Send today for generous complete FREE appli- 
cation of GLOVER S MANGE MEDICINE 
and the new GLO-VER Beauty Soap 
SHAMPOO, in hermetically sealed bottles (by 
coupon only.) Informative booklet on Scien- 
tific Care of Scalp and Hair, 
included FREE! 





GLOVER'S, Dept. 460 Fourth Ave., N.Y. 

Send FREE s.-imples, Glover's Mange Medicine 
-ind new Shampoo. I enclose lOv co cover pack- 
aging, handling and postage. 

NAME 

ADDRESS 



War Widows: New York Qty will 
find both Claudette Colbert and An- 
nabella ensconced in apartments to 
be near their husbands, Dr. Joel 
Pressman of the Medical Corps and 
Tyrone Power of the Navy. 

Jane Wyman and wee daughter are 
probably the happiest people in town 
since husband and daddy Ronald Rea- 
gan has been temporarily sent back 
to Burbank to make Government 
shorts. 

A little jeweled clip and a note of 
good-by 'from the Midwest was all 
Brenda Marshall needed to know that 
husband Bill Holden was on his way 
somewhere else with Uncle Sam's 
forces. Where, she doesn't know, of 
course. 

Last Minute Round-Up: The Navy 
Ball was the event of the month, with 
stars of every magnitude crowding 
the four walls. Freeman Gosden 
(Amos) and Gail Patrick, Glenn 
Ford and Claire Trevor, Randy Scott 
and Patricia Stillman, Gene (Tierney) 
and Oleg Cassini drew coveteous 
glances. And, of course, Victor Ma- 
ture and his Rita (Hay worth) were 
present. Sir Alexander Korda and 
Merle Oberon (this before Mr. Kor- 
da's recent knighting). Rise Stevens, 
Red Skelton and Nelson Eddy, the 
Henry Fondas and just about every- 
one in town were present. . . . 

The opening of Lum and Abner's 
picture "Bashful Bachelor" provided 



Everyone looks at Van Heflin in 
the movies; everyone looks at 
his pretty wife at the Mocambo 



a lot of good-natured fun when the 
pair, who are really Chet Lauck 
and TufTy GofT, drove up to the 
theater in an old-fashioned surrey. 
The horse's name was Daisy Belle, in- 
cidentally. 

Jane Russell, Ginny Simms, George 
Montgomery, Edgar Bergen and 
Charlie, Paul Hesse and Elyse Knox 
were also buggy riders and had a 
whale of a time. . . . 

The fracas that occm-red during 
Errol Flynn's birthday celebration 
wherein Errol's stand-in, Jim Flem- 
ing, is alleged to have assaulted Bar- 
bara Hutton's butler, loaned for the 
occasion, has the whole town in a 
twitter. Practically all the Hollywood 
notables were present at the unfor- 
tunate affair, but few seem to have 
witnessed the assault. 

Miss Hutton is most indignant and 
intends to see justice is done. Any- 
way, it's a regrettable incident coming 
just at this time — what with Mr. 
Fl>nn's heart trouble and aU . . . . 

The Marie Wil.son-Alan Nixon- 
Nick Grinde threesome has rocked 
the town between laughs and indigna- 
tion. Marie who has been keeping 
company with director Grinde eight 
years secretly married Mr. Nixon, 
young and handsome actor, and now 
can't make up her mind that she is 
happy. 

Mr. Ni.xon's torch would light up 
the world if we weren't living in a 
dimout! 



16 



PHOTOPLAY combined u'itli movie mirror 



Close Dps and Long Shots 

(Continued from page 4) Foi- The 
Eagle" ... it took sheer courage for 
Twentieth Century to make a singing 
star of Rita Hayworth who can't sing 
a note . . . because that step may catch 
up with them sometime and something 
might happen to Rita's voice double 
. . but Twentieth should get some 
handclaps for always photographing 
Rita in technicolor since that is one 
of the most beautiful sights in this 
world. . . 

SOMEBODY should hop right up 
and buy a little side option on 
Irene Manning's future talents . . . 
Irene has only been in two pictures, 
one bad one, "The Big Shot," and one 
magnificent one, "Yankee Doodle 
Dandy,"' but in both this diamond- 
i-i'lliant newcomer defied your 
taking your eyes from her. . . . 

Remembering Judy Garland, 
Mickey Rooney, Anne Shirley and all 
the other kids who have grown up in 
the business, Hollywood's eyes should 
always be wide open on the new crop 
now growing towai'd adolescence . . . 
particularly Larry Simms, for his 
comedy work in the "Blondie" pro- 
ductions and his dramatic portrayal 
in "The Gay Sisters" . . . under the 
heading of future leading men, Dickie 
Moore who was so good in "Miss 
Annie Rooney" should be listed, but 
his name ought to be changed right 
now to Dick or even to Richard so 
that, as a very mature adult, he would 
not have to carry around the burden 
Mr. Rogers does of being an eternal 
"Buddy," or Jack Cooper of being an 
Bverlasting "Jackie" . . . and Shirley 
Temple should be separated from her 
Imother during acting hours, and 
thereby, perhaps, Shirley might get 
'into a strong picture in which she did 
act have to be a slightly dreary half- 
Drphan. . . . 

WHAT with studio heads going 
into uniform, too, the smartest 
:hing that could be done would be to 
let Sonja Henie guide some com- 
pany's destinies straight into ten mil- 
lion bucks . . . Connie Bennett should 
Tiove into one of those posts, too, both 
Donja and Connie having long since 
Droven they can outsmart any man in 
cloUywood when it comes to a finan- 
:ial transaction and Sonja already 
jiaving won a few spurs guiding hus- 
pand Dan Topping's business enter- 
prises while he is off to the wars. . . . 
[ Of course, anybody who started so 
nany upheavals in Hollywood would 
simply wake up one morning finding 
Ills body in bed and his head sitting 
separately on the dresser . . . but I 
jihould think somebody should think 
|ie should take the chance! 

The End 

lEPTEMBER, 1942 



Screen comedy so gay.. .drama so thrilling... love 
so exciting... it will be the talk of YOUR town! 





iRGE STEVENS 

PRODUCTION 

he gave you "Woman of the Year" and "Penny Serenade") 



w„h EDGAR BUCHANAN • GLENDA FARRELL • TOM TYLER 

Screen ploy br ItWIN SHAW ond SIDNET IU(HMAtt 

A COLUMBIA PICTURE 



17 



I 



BRIEF m\im 

VINDICATES PICTURE WAS RATED "GOOD" WHEN REVIEWED 
VVINDICATES PICTURE WAS RATED "OUTSTANDING" WHEN REVIEWED 




A\^1A\\VIIS lAILCIUAVll 

FOR BODY BEAUTY 

clothes you in a beguiling film of 
fragrance . . keeps you daintily 
fresh for hours. Use Mavis lavishly, 
every day. Buy Mavis today ... at 



all cosmetic counters. 




Dr. Dafoes 



New Baby Book 

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book entitled How to Raise Your Baby for only 25c — 
and wc pay the postage. Mall order TODAY 
BARTHOLOMEW HOUSE. Inc., Dept. PMM-9 
205 East 42nd Street. New York, New York 



AFFAIRS OF JIMMY VALENTINE— RevubUc: 
Dennis O'Keefe is a brash young ladio publicity 
man who dreams up a gag of locating a Jimmy Val- 
entine to revive a drooping radio serial. He finds 
his Valentine all right, but it leads to murder. Gloria 
Dickson and Ruth Terry are very good. (July) 

ALMOST MARRIED— Vmvers3.\: When Jane 
Frazee's baggage goes to Robert Paige's apartment 
and his to hers, it leads to romantic complications 
for them both. It's kind of cute. (June) 

ALWAYS IN MY H EART— Warners: Kay Fran 
cis decides to marry wealthy Sidney Blackmer to 
improve the opportunities of her children, Gloria 
Warren and Frankie Thomas, .^fter her husband, 
Walter Huston, is paroled from prison, he goes 
incognito to his family's small town and straight 
ens out the children. It's warm and friendly and 
Gloria Warren has a beautiful voice. (June) 

BASHFUL B^CH£iOR— RKO-Radio: Liim and 
Abner come to the screen in a movie that's in keep- 
ing with their radio roles. Chester Lauck (Z-nm) is 
sweet on Zasu Pitts and almost exterminates his pal, 
Norris Goff (Abner), trying to impress Zasu with 
his heroism, (June) 

BLACK DRAGONS— SAonogtzm: A ridiculous pot- 
pourri of nonsense, this, all about a Nazi-inspired 
plastic surgeon, Bela Lugosi, who makes over six 
Japanese to look like American industrialists so they 
can steal our plans like mad. It's silly. (June) 

BLON DIE'S BLESSED EKE.Vr— Columbia : Not 
quite up to their usual standard is this picture of 
the Bumpstcads in which they become the parents 
of a baby daughter. Penny Singleton as Blondic 
arranges with her husband's boss to keep Dantvood. 
.\rthur Lake, out of town until after the blessed 
event. (.Aug.) 

BROADWAY — Universal: George Raft plays him 
self in this remake of the stage play, a motion 
picture star who returns to New York and relates 
his experiences as a night-club hoofer. .-Vs the flash 
back unfolds, such characters as Janet Blair, his 
sweetheart, gangster Brodcrick Crawford, and as- 
sorted entertainers, gangsters and chorus girls pass 
in review. (.-Vug.) 



SHADOW 


STAGE 


Pictures Reviewed 


in This Issue 




Poge 


Bambi 


23 


Crossroads 


102 


Eogle Squadron 


24 


Flight Lieutenant 


104 


Friendly Enemies 


104 


Gay Sisters, The 


24 


In Old Calltornio 


104 


Magnificent Ambersons. Th 


e 103 


Magnificent Dope, The 


24 


Maisie Gets Her Man 


104 


Moonlight Masquerade 


104 


Night In New Orleans 


10^ 


Pacific Rendezvous 


105 


Pied Piper, The 


24 


Private Buckoroo 


105 


Rubber Racketeer 


105 


Ship Ahoy 


103 


Sweater Girl 


105 


Toles Ot Manhottan 


102 


They All Kissed The Bride 


104 


Wings For The Eagle 


103 


Yonkee Doodle Dondy 


23 



18 



PHOTOPLAY combined with MovtE mirror 



BULLET SCARS— Warners: Regis Toomey is a 
Joctor called to treat a wounded gangster and he 
■onceives a clever idea for being rescued from mob 
leader Howard daS>lva. You never saw such 
ihonting. Vou never saw such a picture, either. 
(June) 

✓ HUTCH MIXDS THE — Universal ; 

rypical Damon Runyon, amusing and completely in 
-haractcr, is this comedy of a paroled convict, 
aroderick Crawford, who saves young widow Vir- 
rinia Bruce from suicide and falls in love with her 
jaby. Brod even gets Virginia a job in a night 
•lub run by crook Porter Hall and minds the baby 
vhile she's at work. With Dick Foran. (June; 

-LOSE CALL FOR ELLERY QVEES A— 
"olumbia: William Cargan, as Ellery Queen. 
Jisits the lodge of Ralph Morgan and discovers that 
.lorgan has two daughters, one of whom has been 
nissuig for years. Margaret Lindsay, Gargan's 
ecretary, impersonates the missing daughter and 
hen all the murders start. (Aug.) 

:ORPSE VAXISHES. THE— Monogram : Brides 
nysteriously disappear all over the place until girl 
eporter Luana Walters sets out to investigate. She 
inally traces the brides to the lair of Bela Lugosi, 
vhere dreadful doings have been done. (July) 

ISC APE FROM HONG A'OA' (7— Universal : Ger- 
nan and Japanese agents and American cowboys 
^eo Carrillo, Andy Devine and Don Terry mix it 
•p in a free-for-all before the bombing of Hong 
Cong. They also get mixed up with Marjorie Lord. 
Aug.) 

ALCON TAKES OVER. TH£— RKORadio: 
"he popular screen sleuth, George Sanders, has his 

wn talent for unearthing murderers, this time 
Yard Bond. Lynn Bari is the gal who catches the 
ianders eye. It's well done. (Aug.) 

■ISCERS AT THE WlNDO\V—'S\ G 'S\: Basil 
{athbone is the ruthless killer who hypnotizes psy- 
hopathics into killing his victims. Laraine Day is 
bout to be his latest victim when along comes Lew 
Vyres. Rather interesting. (June) 

'LY BY A'/GHT— Paramount: Richard Carlson 
as to escape the law because he's accused of mur- 
er, so he forces artist Nancy Kelly to accompany 
im so she won't sketch his picture and reveal him 
5 the police. The result is harrowing. (June) 

^ENTLEMAS AFTER DARK, ^— Small-U.A. : 
lentlcnian crook Brian Donlevy surrenders to Pres 
Dn Foster on condition that Foster adopt his baby. 
V'hen the baby's mother, Miriam Hopkins, and her 
artner in crime, Philip Reed, attempt to ruin the 
irl's happiness, Donlevy breaks out of prison to 
top thera. It doesn't matter much. (June) 

■ HOST OF FRANKENSTEIN . THE— V.nwer 
al: It seems the monster is still alive, this time 
jlayed by Lon Chaney, so Sir Cedric Hardwicke 
.ecides to give him a nice, kind new brain, but 
fter a double-cross, he gets the sly brain of Bela 
..ugosi, so things are just as bad as before. Ralph 
'Bellamy and Evelyn Ankers are romantic. (June) 

GOLD RUSH, T//£— Chaplin: A must is 
pis re-issue of Chaplin's never-to-be-forgotten com- 
ly. The narration takes the place of the subtitles; 
le adventures of the little tramp in the gold-mad 
Klondike are as appealing as ever. (June) 

RAND CENTRAL MURDER — M-G-M: Van 
lleflin brings distinction to his role of the amateur 
Jetective who unravels the mystery of the murdered 
now girl; Pat Dane as the ruthless little climber 

ho meets death in the Grand Central Station is 
jiautiful and convincing. (Aug.) 

i' GREAT MAN S LADY. 7H£— Paramount: 
•jarhara Stanwyck does a wonderful job as the old 
idy who reveals to a young biographer the story 
her part in the life of a great senator, Joel 
I'lcCrta. McCrea is very good as the weakling 
' olded into a great man by a greater woman, and 
i;rian Donlevy is the strong man in her life. (June) 

i'ENRY AND D/;?Zy— Paramount : Jimmy Ly- 
J>n, as Henry Aldrich, borrows a motorboat but 
•'recks it. The efforts of Henry and his pal Dicey 
;i2harles Smith) to earn enough money to replace 
■|.e boat form the basis of the story. Mary Ander- 
[jin is the pretty girl. Not up to standard. (Aug.) 

li' HER CARDBOARD LOVER— M-G-il: In his 
L.iy little number, Robert Taylor falls in love with 
[•lorma .Shearer who has hired him to protect her 
rjtainst (jeorge Sanders. At times both Norma and 
hob spread on the histrionics a little thick, but San- 
E|;rs IS, as usual, terrific. (Aug.) 

[(■/ MARRIED AN ANCEL—MG-M: Much 
lllow the standard of Nelson Eddy and Jeanette 
f|.acDonald is this bit of trivia taken from the stage 
-jay. Nelson is a Budapest playboy who falls in 
; ve with an unsophisticated little clerk in his bank. 
[|ne night he dreams she's an angel. He awakes 
find not an angel but the girl he loves. (July) 

IN THIS OUR L/F£— Warners: This unpleas- 
t picture about a selfish woman isn't Bette 
avis's best picture by a long shot. Olivia de 
avilland plays Bette's good sister, Dennis Mor- 
n is the man Bette drives to suicide, and George 
rent the man fortunate enough to escape her. 
uly) 

(Continued on page 107) 




when 



OW can a girl deal with trig and trivialitic 
her brother's out there fighting for freedom? 
Today, especially, when you feel so dull and droopy 
you've half a mind to cut a class. 
Half a mind is right ! . . . you can almost hear Bud 
making a crack like that! "School's your job. Sis", he 
wrote. "It's part of the American way we're fighting for" ! ' 
Well, if he can fight — you can study ! But 
why not organize an all-school treasure hunt 
for the scrap material Uncle Sam needs for his win. 
(Hey look — one worn-out tire makes 8 gas masks!) 
So you tell Jill your brain-wave . . . that you're 
getting in the fight come Monday, when you'll 
feel better. And does she give you a look ! "Why 
be so old fashioned?", she asks. "I thought 
every girl knew about Kotex sanitary napkins" ! 

J-^ovOC tAj>rt-tf twJZii — "TVL-^T«^5^At^ ! 

Jill explained you needn't wait — you can keep 
going in comfort every day of the month 
. . . when you choose Kotex. 
Because Kotex is made in soft folds, it's 
naturally less bulky . . . more comfortable . . , 
made to stay soft while wearing;. A lot different 



from pads that only "feel" soft at first touch ! 
Besides, those flat, pressed ends of Kotex 
keep your secret safe. And the "safety shield" 
means real "forget-about-it" protection 
No wonder more girls choose 
Kotex than all other brands 
of pads put together ! 
So now your chin's up — for 
keeps ! And you'll be working 
for Victory . . . every day ! 



Keep Going in Comfort 

-WITH KOTEX* 





FOR GIRIS ONLY! The new booklet, "As One Girl To 
Another" tells all . . . what to expect . . . what to do and 
not to do on "difficult days". Mail name and address to 
P. 0. Box 3434, Dept.MW-9,Chicago, and get copy FREE. 



(*T. M.Reg. U.S. Pat. Off.) 



PTEMBEF, 1942 



19 




Take 
The 
Plunge/ 



Getting into deep water 
on the subject of baths for 
five eye-opening minutes 

Bt 6I0RIH \UCK 



Something extra-special in the way 
of baths for someone extra-special 
in the movies — Margaret Lindsay 



TAKE a minute out . . . 
. . . and think about your bath. So 
it's just a clean-up, get-clean- 
quick procedure! You're swimming in 
the wrong direction if you think only 
that. A bath is a lot of other things, 
especially now, when the soldier boys 
come marching home on furlough 
demanding that their ladies look more 
beauteous than they ever did before. 
For instance, it can clean up a muddy- 
looking skin in nothing flat, provided 
you use the right technique. That is, 
you take a warm sudsy bath at night, 
lather your face well, rinse off with 
cold water and briskly rub your skin 
with a crash towel. Follow that up in 
the morning with a cool shower and 
another brisk crash-towel facial and 
that muddy-looking skin will disap- 
pear in nothing flat! 

A bath will go to battle against 
those "soft shoulder" blackheads, too, 
if you'll just take to yourself a stiff 
bath brush, lather your shoulders and 
then scrub like mad with a rotary mo- 
tion. But remember, a lick and a 
promise with a soft face cloth will 
never do the job. 

Take two minutes off . . . 

. . . and cogitate on the fact that a 
bath will turn a tired woman of the 



world into a sweet young thing in a 
half -hour's time, if she'll just follow 
directions and keep herself in relax- 
ing warm water for at least fifteen 
minutes. Then all she has to do is 
give herself a nice rubdown. a rub-off 
with cologne and a fine finish with 
dusting powder of the same scent. 

Wrinkle up your pretty brow over 
what Margaret Lindsay, who's going 
to town in her new picture, "Enemy 
Agents," says: "When I'm completely 
fagged out I take a bath. I go for 
a very special, luxurious bath— 
and it's as good as a rest cure. 
While I'm in the tub, I put bath 
salts and bubble bath and anything 
else I can find in the water and I use 
my nice scented bath soap. A bath 
brush or a bath mitt is as good as a 
massage if you're energetic with it, 
too. Then I soak and soak and when 
I get through I'm a new woman." 

One-minute pause over this: 

More from Margaret Lindsay: "I 
think it's a mistake to call bath acces- 
sories bath luxuries. As a matter of 
fact, you can buy all of them for just 
a few cents. A luxury is something 
you can do without and I don't think 
anyone ought to be without those 
extra things that go with a bath — they 



can give one so much in the way of 
relaxation and renewed vigor! The 
stimulating effects of bath salts and 
the rubdown help your vitality; and 
the perfumed colognes and soaps help 
you get your minds off your worries!" 

Ponder for a minute: 

. . about that 'bandbox look." It's 
a head-to-toe procedure: and one of 
the best ways to get a perfect cleansing 
of your face is to apply cold cream be- 
fore your tub and then let the steam 
give you a double-plios beauty treat- 
ment. But. after j-our bath, be sure 
you wash your face with warm water 
and soap, because otherwise, accord- 
ing to Hollywood make-up expert 
Perc Westmore. you can never be sure 
that your face is thoroughly cleansed. 

Don't forget to go to work on your 
toes and elbows. A hard brush plus 
the softening effect of warm sudsy 
water will rid you of troublesome cal- 
luses. Never skip up on dusting pow- 
der footwork, either. 

A bubble bath will give you a band- 
box look, too — and turn you out as 
pink and pretty as a picture. And 
what it doesn't do for the morale these 
war days! You'll feel like a spoiled 
darling when you march out to meet 
that khaki date after the big parade. 



20 



PHOTOPLAY combined with movie mirror 



Now you can have more alluring hair 

SILKIER, SMOOTHER, EASIER TO MANAGE 




Dramatic aim plicity charnctvri zvs smart hair-dos, as ivell as clothes, this Fall. Before styling, 
hair tias shampooed uith neii\ improved Special Drene. See how silky and smooth it looks! 



Wonderful improved Special Drene Shampoo, 
with hair conditioner in it, now leaves hair far 
easier to arrange . . . neater, better groomed ! 



There's a new beauty thrill in store for you 
' if you haven't tried Drene Shampoo lately! 

Because the new, improved Special Drene 
I now has a wonderful hair conditioner in it to 
j leave hair far silkier, smoother and easier to 
J manage, right after shampooing! No other 
shampoo equals this new Special Drene! No 
other shampoo leaves hair so lovely and lus- 
trous and at the same time so manageable! 

Unsurpassed for removing dandruff! 

' Are you bothered about removal of ugly, 
I scaly dandruff? \ou won't be when you 
I shampoo with Special Drene! For Drene re- 



moves that flaky dandruff the very first 
time you use it — and besides does some- 
thing no soap shampoo can do, not even 
those claiming to be special "dandruff 
removers." Drene reveals up to 33% more 
lustre than even the finest soaps or soap 
shamp<M>s! 

So, for extra beauty benefits, plus quick 
and thorough removal of flaky dandruff, in- 
sist on Special Drene. Or ask for a profes- 
sional Drene shampoo 
at your beauty shop. 

TradtMarkRea. U. S- Pat. Off. 

Procter & Gamble 





Don't rob your hair of glamour byusini; 
soaps or liquid soap shampoos — which 
aluays leave a dulling film that diuis 
the natural lustre and color brilliance! 
L se Urene — the beauty .shampoo whii h 
never leaves a clouding film. Instead, 
Drene reveals up to nwreliislre! Kc- 
meniber, too, that Special Drene now 
has hair conditioner in it, so it leaves 
hair far silkier, smoother, easier to 
manage — right after shampooing! 



Special DRENE Shampoo 

with HAIR CONDITIONER added 




SEPTEMBER. 1942 



I 



OUT OF THE BOOK . . . 
OH TO THE SCREEH! 

Flaming into your hearts 
with all its dramatic fervor— 



The emotional thrills, the action- 
jammed dynamite make a great 
book into an even greater picture! 




with 

Thomas Mitchell 
Henry Stephenson 
Nigel Bruce • Gladys 
Cooper • Philip Merivale 
Sara Allgood 
Alexander Knox 

Screen Play by R. C. Sberriff 




22 



PHoaoPLAV combined tuifh movie mirrob 




REVIEWING MOVIES OF THE MONTH 

A reliable guide to recent pictures. One check means good; two checks, outstanding 





A living, beautiful tribufe: Joan Leslie and 
James Cagney in "Yankee Doodle Dandy" 



Disney at his best, a stirring poenn of 
beauty: Thunnper and Bambi in "Bambi" 



< Yankee Doodle Dandy 
(Warners) 

t's About: T/ie ii/e story of the great 
star, George M. Cohan. 

rHE best biographical musical ever 
to find its way out of Hollywood 
md the best thing Jimmy Cagney has 
jlone in years is this jury's verdict in 
I he case of "Yankee Doodle Dandy," 
I he story of New York's versatile 
irtist, George Michael Cohan. 

We believe the film's warmth, the 
■ntangible quality that causes one 
iq take it so completely to one's heai't, 
j ire due to the sincerity of the story 
tself, the efforts of the cast and the 
ineness of the man about whom the 
tory is told. 

Cagney is magnificent as Cohan. 
Valter Huston as his father has never 
,)een so appealing. Rosemary DeCamp 
i s his mother, Jeanne Cagney as his 
j ister Josephine, Richard Whorf as 
I lis co-producer Sam Harris, and Joan 
jcslie as his wife, are fine. A bit by 
^ddie Foy Jr. is a gem. 

The music written by Mr. Cohan 
limself, including "Yankee Doodle 
[)andy" and "Over There," is unfor- 
ettable and so is this picture. 

'our Reviewer Says: Our father, our 
nother, our sister and all of us thank 
ou. 



The Best Pictures of the Month 



Yankee Doodle Dandy 
Tales Of Manhattan 
Bambi 

The Gay Sisters 

Eagle Squadron 

The Pied Piper 

The Magnificent Ambersons 

Best Performances 

James Cagney In "Yankee Doodle 
Dandy" 

Walter Huston in "Yankee Doodle 
Dandy" 

Charles Boyer in "Tales Of Man- 
hattan" 

Henry Fonda In "Tales Of Man- 
hattan" 

Ginger Rogers In "Tales Of Man- 
hattan" 

Edward G. Robinson In "Tales Of 
Manhattan" 

Charles Laughton in "Tales Of Man- 
hattan" 

Barbara Stanwyck in "The Gay Sis- 
ters" 

Monty Woolley in "The Pied Piper" 
Joseph Gotten In "The Magnificent 

Ambersons" 
Tim Holt in "The Magnificent Am- 
bersons" 

Agnes Moorehead In "The Magnifi- 
cent Ambersons" 



Bambi (Walt Disney-RKO) 

It's About: The life of a deer in its 
forest ho7ne. 



SURELY Walt Disney's artists have 
reached their peak of artistic 
achievement in the drawing of Bambi 
and his forest neighbors. Certainly 
his animators have surpassed them- 
selves in giving to the birds and ani- 
mals not only life and movement but 
emotional reactions such as fear, hap- 
piness and contentment. 

There is such soul in "Bambi" it is 
difficult to imagine this a cartooned 
and not a photographed film. Disney 
art at its greatest and best is attained 
in this stirring poem of beauty, which, 
although lacking the humor of "Snow 
White" and the novelty of "Pinoc- 
chio," stands as a monument to the 
men who conceived it. 

"Bambi" is a little deer born in the 
forest, living unafraid until man, 
the villain, strikes terror into his 
heart and destroys his home. 

Children and adults alike will be 
touched by its message, translated 
faithfully from the story. As some- 
one suggested, "With this film ends a 
generation of thoughtless hunters," so 
deeply does its message strike home. 



Your Reviewer Says: A 

beauty and a joy forever. 



FOR COMPLETE CASTS OF CURRENT PICTURES SEE PAGE 101 



iEPTEMBER. 1942 



thing of 



23 



1 



THE SHADOW STAGE 



J 



V 



Thrilling: John Loder. Diana Barrymore, Jon 
Hall and Robert Stack in "Eagle Squadron" 




Priceless: Roday McDowall, Monty Woolley, Fleu- 
rette Zama, Anne Baxter in "The Pied Piper" 



•^'^ The Say Sisters (Warners) 

It's About: The pride that goeth be- 
fore the fall. 

LEST you may anticipate giddy 
femmes, this story' is not about 
sisters who are gay as birds on the 
wing, but rather sisters who are sing- 
ularly covetous, proud and moody. 
The "gay" comes from the abbrevaa- 
tion of their name "Gaylord." And 
now that that's clear and off our con- 
science, we'll go on with the re\'iew. 

The picture has a mood, a feeling, 
a certain distinction all its own, dif- 
ferent in theme and idea. But we 
think you'll enjoy it, despite the 
underlying cxurent of ugliness that 
is present even in the most ludicrous 
moments. Oh, yes, it has those, too. 

Barbara Stanw>-ck (the proud one), 
Geraldine Fitzgerald (the covetous) 
and Nancy Coleman (the moody one) 
are sisters whose estate has been held 
in litigation for twenty years, a situa- 
tion that has impoverished but never 
beaten them. George Brent is the man 
responsible for their legal difficulties. 
As it turns out, he's more than that, 
too, but we ain't a-tellin'. 

Larry Simms (of the "Blondie" 
series) is one of the most appealing 
child actors we've seen and does a 
whale of a good job as "that certain 
little boy." A newcomer. Gig Young, 
proves a find, if this be a sample. 

Your Reviewer Says: Different, mark 
you, but good. 

•^•^ Eagle Squadron 
(Wanger- Universal) 

It's About: American aviators with 
the R.A.F. 

THIS picture is a stirring, thriUing 
tribute to our American boys who, 



as the credit sheet reads, did not wait 
to be stabbed in the back but joined 
England in her fight against Germany 
before our entrj' into the war. 

Actual action shots of the Eagle 
Squadron of the R.A.F., as our Ameri- 
can boys are called, are incorporated 
into the story and lend a thrilling ef- 
fect. The film sequences showing 
planes in the air over Germany are 
among the best we've ever seen. 

Robert Stack does his best w^ork to 
date as the American who joins the 
Eagle Squadi-on and grows bitter at 
the seeming indifference of the Eng- 
Ush to his pal's death. But somehow 
he learns the English have buried all 
selfish and personal sorrows to cope 
with the one great united sorrow at 
hand. 

Leif Erikson as his pal, Eddie Albert 
as a girl-smitten flyer, Diana Barry- 
more as the Enghsh miss in service, 
John Loder as the ofl&cer who loses 
her (why must it always be so?) com- 
prise a good cast in a good picture. 

Quentin Reynolds speaks a very 
timely foreword. 

Your Reviewer Says: On the beam. 

•^^ The Pied Piper 
(20th Century-Fox) 

It's About: The flight of an English- 
man and refugee children from 
France. 

WE have fallen madly in love with 
the Pied Piper played (and 
oh, little chiUun, how he's played) by 
Monty Woolley. The dehcious dia- 
logue, the finesse, the sureness of di- 
rection, the — well, just everything. 

Woolley is an elderly Englishman 
on a fishing trip in France when the 
Nazis invade. As a favor, he agrees 
to take back to England with him two 



English children. The little pair grow 
and expand into a group as Mr 
Woolley travels through devastated 
France on his way to England. 

But, alas, the Nazis catch up with 
him and then — but wait. It's sheer 
drama with a chuckle, a laugh with a 
tear. Anne Baxter, the French girl who 
befriends them, and Roddy McDowalL 
oldest of the children, are dehghtfiiL 
In fact, this whole pictui-e is an out- 
and-out gem. Don't miss it. 

Your Reviewer Says: Priceless. 

The Magnificent Dope 
(20th Century-Fox) 

It's About: A country bumpkin whc 
outsmarts a city slicker. 

FONDA and Amechel Coverec 
wagon and Spitfire I It's the same 
thing, really, and this picture that de- 
picts Fonda as a yokel jerk wh^ 
comes to New York to claim his S50 
prize as the magnificent dope, offeree 
by "high pressure'' Ameche. proves ii 
Only, as so often happens, the Spit- 
fire comes to a forced landing while 
the covered wagon rolls into the home 
base with the girl. 

Ameche. fast-talking, gUb anc 
smooth, receives a neat going-over by 
shy (?) Mr. Fonda, who catches or. 
quick to Don's tricks and trumps them 
with his own little aces. Ameche 
finally adopts Fonda's theon,' of re- 
laxation for his success school anc 
does all right, too, 

Lyrm Bari, as the girl, has abilitjv 
looks and charm. One could ask 
for no more. Edward Everett Hortor, 
and George Barbier add a lot to the fur 

Your Reviewer Says: A right perky 
-piece. 

{Continued on page 102) 



24 



PHOTOPLAY combined icith movie MflMM 



'Thank goodness 
I need orange juice ! 





From Natural Color Photographs 

SHOPPING LESS OFTEN THESE DAYS7 You caa still 

have plenty of oranges for juice and sugar- 
saving sweets! Just buy in larger quantities— 
they keep! Those trademarked "Sunkist" are the 
finest from 14,500 cooperating growers. 

' Hnve You a Modern "Juicer"? A well- 
designed reamer will help you get 
more iuice from oranges — quicker. 
Select one with a large, "orangc-sizc" reaming cone 
and ample bowl. The "Sunkist" glass reamer 
(illustrated) is famous for its efficiency. Available 
nearly everywhere. Priced low. Millions sold. The 
Sunkist Juicit, electric extractor for home use, will 
be back after the war. 



"Imagine the doctor saying I have 
to drink orange juice. Why— it tastes 
better than anything! 

"He says I need it so I'll have good 
bones and nice teeth. ..so I'll grow big 
and strong... so I won't have so many 
colds and things. 

"Mother lets me have it between- 
meals too. She says it won't spoil my 
appetite like most sweets. 

"I'm glad they feel that way about 
it. If they didn't, I guess I'd just have 
to yell for it!" 

FOR CHILDREN AND ADULTS ALIKE, fresh orange 
juice is the most practical natural source 
of daily needed vitamin C. Doctors will 
advise amounts for infants. At six years, 
children should have as much as grown- 
ups—an 8-ounce glass every day for full 
vitamin C benefits. Orange juice also sup- 
plies valuable quantities of vitamins A, 
Bi and G, calcium and other minerals. 



"Last year I was just a 
little girl— orange juice 
sure makes you growl" 



Sunkist 



California Oranges 

Best for Juice -atu/^feu/ ud4/ 



Copr.. 1042. Ca.ifori 



"Hedda Hopper's Hollywood"— Many CBS 
Stations-6:15 P.M.,E.T.-Mon., Wed., Fri. 



KEEP FIT AND FEEL BETTER 

oUuu/n^ "t^Loie ce/itom doui^" 



/, don't think you have to 
SHUAJ water! 




DO KEEP EXTRA CLEAN. TAKE A 
LUKEWARM SHOWER, TUB OR 
SPONGE 6ATH EVERY DAY. 



PONT GET OVERTIRED OR 
LOSE sleep! 




DO GET BIGHT HOURS' SLEEP 
EVERY NIGHT I 



3, IF YCURE CONSTIPATED ON 
THOSE "certain DAYSL- 




/. Fruit 



m \ 

Z.Green Vegetables 



. ^ 6 to 8 glasses 



DO EAT PLENTY OF ROUGHAGE FOODS, 
DRINK PLENTY OF WATER! 



IF you RE ON YOUR FEET ALL 
DAY- DO THIS WHEN YOU GET 
HOME . 



IF YOU SIT ALL DAY AT WORK- 
DO THIS WHEN YOU GET HOME. 



DONT CUT OUT GOOD TIMES 
AND MOPE AT HOME! 





LIE ON YOUR BACK AND PRETEND 
TO PEDAL A BICYCLE FOR 5 
MINUTES.* 




WALK ON HANDS AND FEET FOR 
A FEW MINUTES.* 



DO ENJOY PARTIES WITHOUT 
"JITTERBUGGING" OR 
GETTING OVERTIRED. 



^ DOnV use NAPKINS THAT CHAFE! 



don't wear NAPKINS TOO LONG! 





J IF you STILL HAVE SEVERE PAIN EVEN 
• AFTER FOLLOWING THESE HINTS- 




DO BE SURE YOUR SANITARY 
NAPKIN IS AS SOFT AS POSSIBLE! 



DO CHANGE NAPKINS OFTEN 
TO BE SURE OF COMFORT! 



DO SEE YOUR DOCTOR! 

fiS. FOR MANY MORS HINTS ON HOW 
TO Keep FIT, WRITF ADDReSS BSLOiV* 



FREE booklet: "YOU AND THOSE CERTAIN 

Write Educational Dept., The Personal Products Corp., Millto 



DAYS' 

wn, N. J. 



TH/S PAGE WAS PREPARED IN THE INTEREST OF NATIONAL HEALTH— 
BECAUSE EVERY WOMAN-HOUR IS NEEDED TO HELP WIN THE WAR. 



Modess 



—the fluff-type napkin that 3 out of every 4 women found— 



Softer 



ABOUT THAT PBICE- 



YOU who went to your newsstand this month, or re- 
ceived your copy of Photoplay-Movie Mirror from 
, the boy salesman who calls at your home, were 
asked for an extra five cents. 
I Though it is the most expensive movie publication of 
all to produce, we have waited until the last possible 
J moment to raise the price of your favorite magazine. 

iNow, the costs of publishing a magazine of the quality 
and quantity of Photoplay -Movie Mirror have risen to a 
point beyond which we cannot go without asking you 
to share with us the expense of continuing to make it 
the best in its field. 

; In deciding to raise the price of Photoplay -Movie 
i Mirror, the publishers recognized the desirability of being 
'lable to offer a magazine even more beautiful and exciting, 
[if it were physically possible to do. The ways and means 
were found. You have been asked to share with us the 
I additional costs of publication, but you are going to get a 
bonus which we hope is worth much more than the 
extra nickel you are spending. 

In addition to the four full color portrait pages Photo- 
play-Movie Mirror has always brought you, we have 
now added two more full pages. 

AWAY of measuring the value of these pages might 
be to consider that Hollywood no longer is able to 
5ell to you black and white photographs of the stars at 25 
l:ents each. While, on the other hand, in Photoplay- 
Movie Mirror you now get six portrait pages in full color 
or 15 cents. 

In addition, there is now color to brighten several of 
he story pages you find after the enlarged portrait 
ection. 

A few weeks ago I called on several of you, sat with 
'ou in the living rooms of your homes and asked you 



what we could do to make the magazine even more 
pleasing at the new price. 

You were gratifyingly interested, taking your time 
from the busy routine of the day to answer questions. 
I came back to my desk with a strong sense of satisfac- 
tion, for all of you had told me frankly what you liked 
and what you didn't like about the magazine. 

You mentioned "Fearless" and how you appreciated the 
sense of honesty you gained from reading what "Fearless" 
had to tell you. 

You confirmed our editorial choice of Hedda Hopper 
as a brilliant, witty and informative reporter of the 
Hollywood scene. You put your finger both on our weak 
and strong spots. For instance, you pointed the way to 
improvement on our cooking and beauty departments. 

Yes, you readers of Photoplay -Movie Mirror who 
invited me into your homes and who became editors for 
a day proved that you know exactly what you want when 
you shop for magazines. 

With your help, I think we have been able to offer you 
a magazine this month which is worth the nickel more 
j'ou are being asked to spend. As partial evidence, I 
oft'er Dorothy Kilgallen's stimulating and amusing story 
on page 30; Adela Rogers St. Johns's brilliant analysis 
of Paulette Goddard on page 28; "Fearless's" sympathetic 
explanation of many surprising romances; the six stun- 
ning color pages; the bright and helpful fashions; the 
exclusive details of Myrna Loy's sudden marriage to 
John Hertz Jr. 

You who buy Photoplay-Movie Mirror are honestly 
and sincerely interested in bargains. So you can see why 
we believe more than ever in the phi-ase you have been 
reading on the cover of the magazine the past twenty- 
one months and why we think it should be edited to say: 

"Still two great magazines for the price of one." 



I 

;PTEMBER. 1942 




She's the girl with nine lives, the 
lady who has provided Hollywood with 
its favorite mystery, the wife who has 
dared to play a strange nnarriage game 




BY ADEU ROGERS ST. JOHIS 



IT is one of Hollywood's most dra- 
matic stories how Paulette Goddard 
— she of the stimulating beauty and 
vivid talent — has made herself a star 
with the breath of scandal and the 
spotlight of sensational gossip follow- 
ing her wherever she has gone. How 
in the latest well-timed explosion of 
iher dynamic career, she has contrived 
jto turn disaster into triumph. 
' Paulette Goddard is a woman of 
daring. 

For years she provided Hollywood 
Arith its favorite mystery. When, at 
ast, it was time to end the silence so 
ull of delicious implications, she was 
eady with a new puzzle equally sur- 
ounded with hushed whispers. 

The first time I saw Paulette God- 
lard, dark and sultry and attractive, 
vas at a very highbrow dinner in 
iollywood. The girl sat next to 
Charlie Chaplin at the speakers' table 
nd I remember very well that she 
vas much more the center of attention 
han any of the literary great seated 



near her and that even then the whis- 
pered conversation running back and 
forth across the large banquet room 
concerned her much more than it did 
the distinguished guests we had all 
come to see. 

The whispers were passed on, be- 
tween the seven courses of the ban- 
quet, like tidbits of delicious food. 
"Was Chaplin going to marry this 
starlet?" "Were they really so in 
love?" "Was her fate to be that of 
Chaplin's other young wives?" "Would 
he really make a star of her?" 

I remember thinking, "This girl is 
young, but she can take care of her- 
self. She will come out on top no 
matter what happens. There is steel 
under that young loveliness. She is 
the kind of girl who has nine lives." 

The last time I saw Paulette God- 
dard she stood on the stage of a 
hushed theater. Beside her was the 
slight, grey-haired genius whose latest 
picture, "The Great Dictator," was 
about to be given its world premiere. 



There was a pause, then Charlie 
Chaplin said: 

"My wife, Paulette Goddard, and I 
hope you will enjoy the picture." 

It seemed as if the curtain had been 
rung down on the third act of a great 
drama. 

I should have remembered that 
Paulette Goddard was the girl of nine 
lives. For a few months later there 
was a front-page story that said Paul- 
ette Goddard was divorcing the man 
who finally had publicly presented her 
as his wife. 

The girl who had dared to live foe 
years without the world's knowing 
whether she was wife, friend or in- 
spiration now dared to divorce the 
man who had only just said they were 
legally husband and wife. 

We in Hollywood first knew her as 
the girl who rolled into town in a 
Hispano-Suiza with her mother, a 
$200,000 bank account and a brand- 
new divorce. Quite an achieve- 
ment for (Continued on page 96) 



EPTEMBEF. 1942 



29 



OF HOLLYWOOD 




Why, Queen Kilgallen! How could 
you ever suggest anything like 
that for I imp id -eyed Lannarr? 



SOMETIMES on rainy days I like 
to dream of being Queen of 
Hollywood, with a diamond 
crown on my curls and an ermine 
throne to sit on and a jeweled sceptre 
to wave around in the California 
breeze. Of course, it is pretty safe to 
bet that no whimsical Wizard of Oz 
will ever transport me to a gilded 
palace from which I can issue orders 
to Sam Goldwyn, Will Hays and Bette 
Davis — but if that should happen, I'll 
know what to do! 

If I were Queen of Hollywood, I'd 
give an "Incredible" Award to — the 
worst picture of the year and this year 
it would go to "The Shanghai Gesture" 
. . . I'd command George Raft's wife 
to give him a divorce so he and 



A royal-purple columnist 
gets herself a shiny crown 
and then sets out to do a 
bit of crowning herself! 

, By , 

OOYOTHnilCALlEN 




The author, famous wo- 
man reporter, columnist 
and radio commentator 

Betty Grable could marry and live 
happily ever after . . . Bob Hope would 
be my court jester . . . I'd never let 
Hedy Lamarr grow middle-aged the 
way she did in "H. M. Pulham Esq.", 
simply by powdering her hair at 
the temples. She'd have to put on 
a few pounds or take off a little 
glamour, or acquire a few crow's-feet 
around the limpid orbs. 

I'd clamor for more interesting in- 
dividuals like Joan Fontaine and 
Greer Garson, and fewer rootin' 
tootin' cuties ... I'd never let heroes 
call heroines "My sweet." 

One of my first reforms would be 




There'd be plenty of cash in 
the royal treasury if Vic Ma- 
ture had to obey the queen 

architectural. I would demand that at 
least two-thirds of the restaurant>. 
cafes, hot-dog stands and filling sta- 
tions be remodeled to look like what 
they are, instead of caricatures of 
Moorish castles, Breton lighthouses. 
Provengal chateaux and Dali night- 
mares . . . I'd force everybody in 
Hollywood to sign an "I Ain't Kid- 
ding" pledge so all that time spei t 
by the various citizens asking one 
another, "Are you kidding?" could be 
put to more profitable use ... I d 
make Victor Mature pay a fine every 
time he gave out one of those poison- 
ous interviews on the subject >>f 
Victor Mature ... I'd send for Wendy 
Hiller, who was so wonderful in 
"Pygmalion" and "Major Barbara.' 



30 



PHOTOPLAY combined with movie mirk 




urn would certain- 
ly take up the slack nioely! 



=00^*" 




Lef Erroff-lynn follow imperial 
ordlers and there'd be less 
linimenf sold in Hollywood 






Merle Oberon, now Lady Merle, 
would have another title pronto 
n the gay Kilgallen reign 




and put her right to work in front 
tjof the cameras without tacking on so 
:Jmuch as a single false eyelash or 
gleaming enamel tooth jacket ... I'd 
banish all moustaches, with the pos- 
,sible exception of Jerry Colonna's — 
because shearing his would be prac- 
tically cutting a man in half! 

I'd forbid all comedies that kid the 
-jNazis — because I don't think the 
(iNazis are kidding ... I'd let vaude- 
jviUe come back to life "in the flesh" 
I'lf it can, but not in pictures where 
►jlong routines and running gags and 
|mugging definitely have no place . . . 
I'd try to find an animal star like 
Rin Tin Tin, so the pooches of the 
lation could have an idol, too . . . 
, d ask Joan Crawford to give a 

iEPTEMBER, 1942 



Ml 



lesson in Deportment and Etiquette 
Toward Fans And The Proletariat to 
some of the Jenny- come -latelys 
among the glamour girls who worry 
their studios, are rude to their ad- 
mirers and terrorize their employers 
... I'd team Fred Astaire and Ginger 
Rogers again, to a score by Irving 
Berlin ... I wouldn't let Cary Grant 
sit under the apple tree with anybody 
else but me. 

I'd have Bette Davis play a happy- 
go-lucky Pollyanna type in a picture 
without a single tear or tense mo- 
ment. She'd just laugh and laugh 
and laugh — and I don't mean leer! 
... I'd confer Knighthood on Alfred 
Hitchcock every night in the week 
... I'd have Dorothy Lamour wear 



the old sweater and cap and let Bing 
Crosby and Bob Hope wear the sa- 
rongs ... I'd give Lee Tracy juicy 
assignments ... I'd take motion- 
picture exhibitors to task for some of 
those double features that destroy all 
sense of realism by having an actor 
die a very sad death in one film and 
then spring into being again, peppy 
as all get out, in the second feature 
on the bill . . . I'd allow Katharine 
Hepburn to wear slacks, even to court 
functions, because — on her they're 
becoming. 

I'd demand to be told what it is 
that W. C. Fields has that I don't get 
and why I fail to see anything even 
slightly amusing in any of his pictures, 
and why I {Continued on page 90) 

31 




Bob Sterling too young 
for Ar^n Sothern (Mt)7 
Wait a minute. Look at 
that situation as .t s 
explained here Joan 
Crawford liked Glenn 
Ford and vice versa; 
that romance didn t urn 
out because Crawford 
thought of something 
most Hollywood wo- 
men completely .gnore 



The quest for love is as In^portont ,n 
Hollywood-and as misunderstood-as 
, is onywhere else on earth where there 

,n whose hearts are empty 



Qi-e womei 



WHEN Norma Shearer's re- 
ported romance with young 
Martin Arrouge, her ski in- 
structor, hit the front pages, friends 
waited for Norma's denials. None 
came. Instead Norma, mother of two 
bhildren, confided to friends that de- 
spite the difference in their ages, the 
•omance was serious. 

Hollywood had no doubt of it after 
glimpsing the pair dancing together at 
light clubs. Norma with stars in her 
;yes. At the airport recently when 
Morma bade Martin a lingering good- 
jy, as he left for a brief trip to New 
york, everyone was convinced Norma 
shearer intended to marry this man if 
ndeed she hadn't already done so, as 
umored. She had met him at Sun 
v'^alley where she'd gone on a skiing 
acation. He was young — twenty- 
ieven — of excellent family, born in 
Jtah of French descent. He had come 

Sun Valley himself as a guest, but 
lad stayed on to become an instruc- 
or. Shy and unprepossessing, he had 

1 great love for children and he took 
^orma Shearer's children to his heart, 
t was that that brought them together 



— and who is there to say that Norma 
herself was not struck, as all Holly- 
wood has been, with his close re- 
semblance to her late husband Irving 
Thalberg? 

"I've been a widow for six years," 
Norma told her friends, "and in those 
years I've spent too many lonely hours. 
Besides, my children love him. For 
me," she added with wistful dignity, 
"it's a serious romance." 

In those revealing words can be 
found the answer to so many "lonely 
romances" in Hollywood, the town 
that's been called, and rightly so, the 
loneliest one in the world. 

Night after night, Hollywood beau- 
ties, whom any ordinary lad would 
give his eye teeth to date, sit alone 
waiting for their phones to ring. One 
famous blonde starlet recently con- 
fessed that she hadn't had a date in 
three weeks. 

Why is this? Simply because movie 
stars are placed beyond the pale of 
ordinary human beings through pecul- 
iar circumstances, exactly as if success 
had shut thern off by a wall. Stars 
are so intent on getting ahead, holding 



EPTEMBER. 1942 



on, climbing through the years and 
reaching the peak, that when the time 
finally comes to breathe easily, to let 
down a bit, in the knowledge that 
their careers are set and the goal 
reached, they discover that love and 
romance have not waited. 

This is not just the star's fault, re- 
member, but Hollywood's own. "Be 
careful with whom you're seen," stu- 
dios caution starlets on their way up. 
"You have a position to maintain," 
they warn the newly christened star. 
"Move in the right circles, know only 
the best, be seen only with the 
famous." 

Which is all right until one day 
grown-up Miss Glamour Girl awakens 
to the awful fact that her purse may 
be full, but her heart is empty. Then 
comes the quest for love to fill that 
empty heart. If it can't be found with 
people one's own age, and in Holly- 
wood it seldom can, there is a reaching 
out of empty hands and hungry hearts 
to whoever offers the love. 

Sometimes it works out beautifully. 
But oftener it doesn't. 

Bette Davis (Continued on page 80) 

33 



Bombardier's Bride 



Priscilla Lane, who's discovered how to 
be a perfect war wife to Lt. Joe Howard 

BY RiLL^ PUE nmm 




Keeping house today in seventh heaven in the middle of the desert 
are Pat and her bonnbardier instructor Howard. Exclusive is this 
Fink picture of him; for the inside story on it, see page 78 



THE last rays of the desert sun 
slanted through the windows open- 
ing into the long living room in the 
white adobe bungalow where Priscilla 
Lane and Lieutenant Joe Howard 
were being married. Like a studio 
spotlight, the beams fell across the 
little wedding party grouped in front 
of the wide fireplace. 

There was Bonnie, Pat's chum and 
"stand-in," who had driven down to 
El Rancho Vegas, the popular desert 
dude ranch, to act as maid of honor; 
there was Lieutenant Colonel George 
Hardman, director of training at Vic- 
torville in Joe's bombardier squadron, 
who had come over to be best man. 
Lieutenant Colonel Herbert Anderson 
and his wife, in whose bungalow the 
wedding was taking place, and Justice 
of the Peace Mahlon Brown com- 
pleted the group who had gathered in 
the quiet afternoon to participate in 
this solemn union of two rapt young 
people. 

Standing beside her soldier, trim 
and straight in his dress uniform, Pat 
in her simple powder blue wool dress 
and blue felt hat looked more like a 
high-school graduate than a movie 
star. Yet this fresh, clear-eyed girl 
had already known what it meant to 
have one marriage fail. In all honesty 
she could not deny that being radiant- 

34 



ly in love didn't necessarily mean one 
would be a successful wife. 

Nevertheless, Pat wouldn't have 
been human if, in that moment when 
Joe took her in his arms at the con- 
clusion of the simple ceremony, she 
hadn't believed that here at last she 
had found her great love. That this 
time it was forever. Besides, wasn't 
that what the inscription inside their 
wedding rings said? 

The sound of popping champagne 
corks and clinking glasses broke the 
desert stillness as Pat and Joe slipped 
out onto the porch. Skirting the de- 
serted swimming pool, they ran down 
the path and jumped into the waiting 
car. 

Before news of the wedding got 
around, the bride and bridegroom 
were well on their way to Victorville, 
headed for the modest five-room cot- 
tage Joe had rented for their first 
home. 

Oddly enough it was on the set of 
"Silver Queen," Pat's latest picture, 
that she first heard about that home, 
scarcely ten days before she was to 
enter it as a bride. She had been 
most reluctant to discuss her romance 
with her stalwart young bombardier 
instructor. The scars, of her secret 
and unhappy marriage to Oren Hag- 
limd, the {Conthuied on page 78) 



C /iiiijet J^c^ezi: Appearing 

Paramount's ■ "The Mo orj 
And The Minor" page 

t^eltij (^fralle: Appearing 

20th Century-Fox's "Foot-j 
light Serenade". . pag( 

(^atcle ^aitdn: Appearing 

20th Century-Fox's "Or-| 
chestra Wives" 

J-^itii ,;J-liiinvcTtli : Appearinc ir 
20th Century-Fox's "Tci 
Of Manhattan" . . . pagi 

jiiiK <=^ulLenLitij: Appearinc i 
Columbia's ''Luck^ 

Legs" j,ag( 

J^'itii -J^caLc: Appearing 
Warners' "Yankee Docc 
Dandy" pagt 

J-^^clt'tf '^aiilct: Appearin< 
M-G-M's "Cargo Of Inn 
cents pagi' 

jclin (^iirzc^ll: Appearing II 
. Republic's ''Flying 
Tigers" pap' 




The first name's Alan; 
his first snnash, "This 
Gun For Hire." The first 
connplete lowdown about 
hinn? This one right here 



BY m\ R. \mim 



ONE type that the late (and very 
busy) Dr. Sigmund Freud, 
prober of the human mind, 
left strangely unexplored is the killer- 
Casanova. In a way, it is a pity. If 
only the good doctor had got around 
to the subject, there would be avail- 
able right this minute scientific ex- 
planation for the phenomenon of Alan 
Ladd who burst with such lethal vio- 
lence into the public ken via a blood- 
soaked melodrama called "This Gun 
For Hire." 

The absence of a scientific explana- 
tion distui bs nobody but the scholars. 
Countless impressionable maidens in 
the Union take Ladd for the sleep- 
disturber that he is, gaze fondly at 
his photograph and deluge him with 
passionate fan mail. 

"The guy is moider," according to 
the president of the Brooklyn-Alan- 
Ladd - For- Practically - Anything - He - 
Wants-Club. 



"He incites a riot when he appears 
in Times Square," deposes a sergeant 
of New York's finest in charge of 
traffic, referring to Ladd's having un- 
guardedly passed by the Paramount 
Theater his first day in town to gaze, 
rapt, at his name in lights, a faux pas 
which got him practically stripped by 
admirers. 

Add to this popular acclaim the all- 
out cheering of the New York critics 
and you have a future which anyone 
can recognize as deep rose. 

Anyone but Alan Ladd. He still 
doesn't believe it. 

"It's a mirage," he says. "Tomor- 
row 1 11 be back at the old stand and 
no customers." 

When the Ladd lad talks like that, 
he is a bit on the all-wet side, al- 
though he does have grounds for his 
skepticism. A couple of years ago you 
could have bought his services for 
peanuts — unshellcd, at that. And no 



takers. At least not until a lady 
named Sue Carol came on the scene. 
But maybe we ought to go way back 
to the beginning. 

WHAT makes the struggle of Alan 
Ladd different from almost' 
every other struggle for success is 
(he fact that he hadn't the remotest! 
idea of becoming an actor; the idoa| 
was wished on him. 

He was seven when his mother andj 
stepfather quit his native Hot Springs,! 
Arkansas, for California, firet atj 
Alhambra, then at North Hollywood] 
Ladd's father, who died when hisl 
scion was three, had been an audit(T.j 
His foster father, who left Arkansas! 
for the milk and honey of California,J 
was a house painter. 

Golden California proved to be .ml 
illusion for the Ladds. Nobody mucfa| 
needed the services of the Arkansa 
traveler who (Co7Ui7med on poge 70)1 



36 



PHOTOPLAY comhineA with movie mifi 



JUDGE FOR YOURSELF 

Several issues ago, PFiotoplay-Movie Mirror made tFie innocent nnis+alce of 
asking noted experts to pick tFie best figures — male and female — in Hollywood. 
Ever since Betty Grable and Errol Flynn were announced as the winners, we've 
wisFied we Fiad been smart enougFi to mind our own business. 

It seems many of you weren't inclined to agree witFi some of tFie candidates. 

As far as you were concerned, our noted experts sFiouldn't Fiave limited the 
field just to Betty and Errol. The stream of protests suggesting other star 
contenders for figure honors is still flooding our desks. 

We open letters like these every day: 



From Norton Buckley. 

MinneapoUs, 
Minnesota 



I^UdL^ dU.^ • 

^„4»*-Ax TXju^ clU^ 



Bett 



to fh . "^'"^^ okay 

best J- 

Rita 



ae. 



tee. 



«t the 



• • • 




Haven. Conn. 



CatoUn* 



^WVtvois 



So We've Thrown Up the Spongel 

Now it's up to you to select the best 
figures in Hollywood. And just to mclce the 
job easier, we're publishing four eye-filling 
figures on the next two pages. (Also, to 
show that our experts weren't so far off the 
beam, we've included Betty Grable.) 

Next month with the October issue as your 
reviewing stand you will find more con- 
tenders on exhibit. Remember, this is only 
the beginning. Keep on watching until 
you've had a complete lineup of potential 
winners. Then we'll give you the signal to 
send in your vote for the winners. 



Good luck — and good looksl 



37 



Frances Dee got the lead in "Name, Age And 
Occupation," produced by Pare Lorentz (below). 
It was a plum; but should she have picked it? 




if you're game to put your future to this test 



QUIZ I 

1. Do you usually keep your feel- 
ings to yourself when things go 
wrong? 

2. Do you have at least one real 
hobby? 

3. Do you usually obey "Keep off 
the Grass" signs? 

4. Do you give considerable thought 
to your professional future? 

5. Have you read at least three 
good books in the last year? 

6. Do you feel that people usually 
think well of you? 

7. Do you usually do things that 
jare good for you, even if you do not 

Kke them? 

8. Do you believe old people de- 
j serve special help not. given to 

others? 

9. Is it easy for you to compliment 
(jpeople when they have done some- 
^thing well? 

10. Are you especially friendly to 
jnew students in your class or new 
employees where you work? 

11. Do you ever do anything to 

K improve the appearance of your home 
surroundings? 

]| 12. If you were working, would you 
/|be eager to know the entire process 
of work of the organization, instead of 
<iust knowing your own particular 

liittle job? 

13. If your boss were away from 
jthe office could you do good, useful 
ijiwork without direct supervision? 



i| 14. Are you willing to accept re- 

[iponsibility? 

■I 15. Do you enjoy big parties, pic- 

fiics, etc.? 

16. Do you usually finish things you 
^legin? 



17. If a person makes a promise 
;0 you, are you annoyed if he (or 
the) fails to keep it? 

18. Do you make most of your de- 
lisions on the spur of the mo- 
lient? 

19. Are you doing any kind of First 
jdd, Red Cross, AWVS, USO or other 
rOluntary "war work"? 

i 20. Are you eager to forego priv- 
jeges and material things to help win 
16 war? 



BY DOROTHY HAAS 



21. Do you really read the news- 
papers, not just the movie news,' so- 
ciety page and funnies? 

22. Does it make you happy to 
know your friends are getting along 
well? 

23. Do you find it easy to accept 
well-meant and sound advice? 

24. If you find an article, do you 
make an effort to return it to the 
person who lost it? 

25. Do you like- to entertain your 
friends in your own home? 

QUIZ II 

1. Is it hard for you to remember 
names of people you meet? 

2. Have you found it difficult to 
make as many friends as you 
wish? 

3. Do you find it hard to meet new 
people at social affairs? 

4. Do you do favors only because 
you think you "have to"? 

5. Do you offen feel lonely, even 
when you are with other people? 



6. Do you feel inferior to other 
people very often? 

7. Do you think that people do not 
appreciate your efforts — or you? 



8. Are people often so unfair or 
unkind to you that you feel like cry- 
ing or throwing things? 

9. Is it difficult for you to intro- 
duce or to be introduced to peo- 
ple? 

10. Do you usually wait for some- 
one to tell you what to do before 
you begin something, in work or 
recreation? 

11. Do you find it difficult to "warm 
up" to people you have just met? 



12. If you need assistance, do you 
find it hard to ask other people for 
that help? 

13. Do you lose your temper quick- 
ly and frequently? 

14. Is it hard for you to go on with 
work if you do not get enough en- 
couragement? 

15. Is it hard for you to admit it 
when you are in the wrong? 



16. Do you feel that people often 
treat you rather badly? 

17. Do you sometimes avoid respon- 
sibility or work if you think you can 
get out of it? 

18. Do you beheve it is justifiable 
to be discourteous to disagreeable 
people? ' / 

19. Is it hard for you to lead in 
"pepping up" a dull party? 

20. Do you let people know it when 
they irritate you? 

21. Do you keep a diary? 



22. If you do a favor for someone, 
do you expect a favor in return? 



23. When you are reading does 
your mind wander so that you fre- 
quently have to reread? 

24. Do you trip over your own 
tongue or stutter when you are angry 
or excited? 

25. Do you find you have trouble 
going to sleep? 

Scoring: Give yourself two points 
for each "Yes" answer in Quiz I 
and two points for each "No" in 
Quiz II. Add the two sums together. 
If the total is from to 24, your 
rating is found in the A group below; 
from 26 to 50, in the B; from 52 to 
74, in the C; from 76 to 100, in the D. 

A. 

Why do you draw so much within 
yourself? And why do you doubt the 
good intentions of other people and 
shy away from them? People, in gen- 
eral, are swell guys, if you'll meet 
them halfway! 

Are you working as a receptionist, 
saleswoman, teacher, beautician? If 
you are, you're probably in the wrong 
job. You should^ do some type of 
work in which you need not deal 
constantly with other people. You can 
excel in other things, using any spe- 
cial talents you have, be they mental 
or manual. Meanwhile, develop faith 
in yourself and make an effort to be 
more friendly with other people. 

If you have manual dexterity — and 
you are a very valuable citizen if 
you have — use it! You can excel in 
defense plant (Cfmtinued, on page 76) 



oranc 




There is only one way to describe 
the living document this wonnan has 
agreed to reveal. It is magnificent 



dited bY MARIAN RHtA 



man document is 
comprised o/ ex- 
cerpts /rom a per- 
sonal diary kept by Anna Neagle 
during her recent sojourn in England 
for the filming of "They Flew Alone." 
Miss Neagle makes no pretense of 
being an author. Nor had she any 
thought during its writing that her 
diary might one day appear in print. 
However, at Photoplay-Movie Mir- 
ror's urgent request, she has con- 
sented to its publication in part in 
the belief that its contents may add 
their bit to the great and inspiring 
saga of the British people at war. 

— The Editors. 

AUGUST 19, 1941 . . . Clipper for 
Lisbon. Just before we left 
New York, Mr. Schaefer 
(George Schaefer, former president of 
RKO) presented me with an attrac- 
tively done up box labeled: "Orchids 
to wear in England." Box very heavy, 
though, and I found it contained 
lemons! I imagine I shall appreciate 
them more than their weight in or- 
chids, since apparently England is 
getting no citrus fruits, nor fruits of 
any kind. Stopped at Bermuda — to 

44 



witness our first signs of war. Blinds 
drawn. Men in uniform. All papers 
confiscated. My use of my real name, 
Marjorie Robertson, made customs 
man suspicious. He thought I was pos- 
ing as May Robson! 

August 20, 1941 . . . First Azores, 
then Lisbon. Met by the Portuguese 
press and was pleased to hear that 
"Victoria" was greatest success ever 
known in Portugal. Entered Estoril 
Palace with Shirer's "Berlin Diary" 
under my arm to the obvious disgust 
of equally obvious Nazis. 

August 21, 1941 . . . Visited the air 
attache here to see about passage for 
England. Cannot leave for a few days. 
Lisbon most colorful and fascinating. 
At dinner tonight, at the table next 
to ours, the Nazi minister was enter- 
taining Italian and Japanese minis- 
ters ... a rather significant and om- 
inous group. At the table next to 
them sat a "spy woman." An artist I 
met had seen her in Prague and knew 
she carried an Austrian passport and 
yet she had recently come from 
Vienna to Lisbon with a British pass- 
port! She rather gave me the shivers. 
There seems to be terrible poverty 
here, behind the glitter and color of 
Lisbon's motley international throng, 



and the people are totally unpreparet 
for invasion. Gracie Fields's Clippei 
is held up here and she is temporarily 
"broke" on account of the British lav 
allowing only $50 to be taken out 
England at one time, so I lent he 
$50 — and she the highest paid actres 
in the world! 

August 24, 1941 . . . Left at 5: J 
this morning for England. Dutc 
(British now. of course), Portugues 
and German planes drawn up side b; 
side at the airport. Flight towar 
England very beautiful and it v.i 
difficult to realize we were approach 
ing a land in the throes of war — tha 
is, until the plane was completel; 
blacked out and we were told we woi 
over the battle area. Arrived (cen 
sored) and were taken behind higl 
walls for customs inspection. Official 
extremely interested in Americai 
sentiment toward Britain. Later wen 
on a little tour of the city and saw 
for the first time, with my own eye 
(this was Miss Neagle's first trip t 
her homeland since Brttat7i went 
war), the ruin wrought by the enenij 
It is an indescribable sensation to l>e 
hold the desecration of your nativ 
soil. I felt terrible sorrow and a ter 
rible anger. (Continued on page "2] 



PHOTOPLAY combined xoith movie mir 




\u\n 
mm 



I'd take you — on any 
(terms," he said. He didn't 



have to. She took him! 



IN the musty Buddhist temple which 
served as squadron headquarters, 
J Jim Gordon paced the floor with 
llong angry strides, a troubled light 
|in his gray eyes. 

"My dear Mrs. Dale — " His voice 
lhad a hard, metallic sound. "It is 
Iwith deepest sorrow I inform you 
|that your brave son — " 

He halted, glanced to Brooke Elliott, 
l.yping at the improvised desk across 
jhe room. Brooke brushed back a 
lock of blonde hair from her forehead. 
I'What's wrong with that, Jim?" 

"Hearts and flowers," he said harsh- 
ly. "Sentimental twash — " 

"But you can't be too cold," she 
|;aid. "This goes to his mother." 

He stood looking down at her, his 
lean face drawn and tired. "You write 
|t, Brooke. Say — anything you like." 

She nodded, cool blue eyes survey- 
ing the man before her. The hard 
lines of his face, the bitterness in the 
lyes, the callous manner. But she 
|:new it was false — a shield he wore, 
lere in Burma, with disaster his daily 
liiet. 

"All right, Jim. I'll do it." 

Her fingers danced on the keys of 
[tie battered typewriter, spinning pat 
jttle phrases of sympathy. A boy 
lamed Dale, young, eager-eyed. His 



"You'll. find her 
hard to hondle 
at first," Jim 
said to Woody 



Fiction version by 
WILL OURULR 

A Republic picture. Associate Pro- 
ducer, Edmund Grainger; Director, 
David Miller. Screen play by Kenneth 
Garnet and Barry Trivers from an orig- 
inal story by Kenneth Garnet 

first time out. Now sh^ must write 
his mother. 

It was finished at last, sealed up. 
Jim held the letter in his hand. "Dale 
had no business in China," he mut- 
tered bitterly. "We need tough guys, 
Brooke. Fellows who know what 
they're doing. Like Hap or Tex." 

"Or you," she added. 

She knew. Flying into hell and 
back — that was his life. She'd watched 
him and the otheis so many months, 
these months she'd worked hei-e in 
the China Red Cross, caring for the 
wounded and hungry, trying to do 
the job her father had wanted to do. 
Part of Asia's army of millions, giving 
their lives in this fight for freedom. 

He seemed to guess her thoughts. 
"Brooke, it's been months since your 
father — checked out. Isn't it time you 
were over it?" 

Their eyes met. Neither spoke for 



Ja>TEMBER, 1942 



a moment. At last she said, "Jim, 
you're — you're in love with me, aren't 
you?" 

"I guess it's been pretty obvious." 
"I only wish — " 

"I know. You wish you could love 
me. That's what you mean, isn't it?" 

She stood by the window, staring 
out at the flying field. "I've a job to 
do. Somehow, nothing else seems to 
count, nothing else seems tied to 
reality." 

"I don't think Doc Elliott ever in- 
tended his daughter should stay here." 

She turned toward him. "Dad came 
to Asia because he believed in what 
China fought for. He died before he 
got a chance to help. I've got to try 
to — do his job. Can't you see how 
hard it is to get straight on love and 
things like that — " 

His lips twisted in a rueful smile. 
"I'm straight about it." 

She walked to him, looked up into 
his face. "Would you — would you 
take me, even knowing I didn't love 
you?" 

After a moment he said, "I'd take 
you, Brooke, on any terms." 

Brooke was about to give him his 
answer when someone pounded at 
the door. Jim's voice carried impa- 
tiently across the room. "All right, 

47 




all right — come on in." 

It was Hap Davis and Tex Norton. 
Hap, his face lined and weatherbeaten, 
was one of the oldest flyers there, a 
veteran of more sky battles than any 
of them. Tex — who had a drawl when 
he spoke, which was rarely — was 
called the best poker player in all 
Asia. Hap was grinning. "Better get 
started, Skipper, if you're going up 
to Rangoon today." 

Brooke looked at Jim inquisitively. 
"Rangoon?" 

"Have to see the Colonel — pick up 
some new replacements. So help me, 
if there's an amateur in the lot, I'll 
quit." 

The others laughed. Jim was get- 
ting together his things. As he was 
leaving, he turned to Brooke with a 
question in his eyes. 

"Maybe, Jim," she said. "When you 
get back — " 

"You mean — " 

"I don't know. I—" 

She watched him climb into the car. 
Mike, the chubby Chinese mechanic 
who was especially proud of his Irish 
nickname, was stuffing the suitcase 
into the back compartment. There 
were times, as now, when Brooke 
wished there were quiet. Times when 
she wondered what it would be like 
to be a normal young woman again, 
safe in some snug existence. Ebccept — 
this was where she belonged, here on 
the front lines. 

The only tull-sized bath in a hun- 
dred miles was located in Squadron 
Leader Jim Gordon's headquarters. 

48 



Brooke was 
about fo give 
Jim his a n- 
swer when they 
were inter- 
rupted by a 
sudden pound- 
ing at the door 



It was here, two days later, that 
Brooke was bathing when she heard 
noises outside and knew Jim had re- 
turned from his mission. She called 
quickly, "Just finishing a bath, Jim. 
Be right out." 

A FEW minutes later, dressed in 
her Red Cross uniform and 
combing her hair, Brooke came out 
into the main room. Most of the 
luxurious hair was over her eyes. 
"Heard the truck, Jim. Didn't mind 
my stealing a bath, did you? You 
almost caught me — " 

"And am I sorry I was late!" 
She started at the voice, shook the 
hair back from her eyes. Before her, 
tilting back on a chair, was a man 
she'd never seen before — long-legged 
and rakish, with an impudent, devil- 
may-care grin on his lips. 

"Oh! I was expecting Jim — I 
mean — " 

His eyebrows lifted with arch sur- 
prise. "Well — and do you always 
bathe in Squadron Leader's quarters?" 

He arose and carefully placed the 
chair back against the wall. Brooke 
studied him a moment. "You're one 
of the new pilots — " 

"Name's Jason," he answered quick- 
ly. "Woody Jason. Used to fly trans- 
ports. The General's sent me out 
here to see what's holding up the war 
in these parts." 

"I suppose you've found the answer 
already?" 

"Sure. Pilots spend too much time 
in the hospital." 



THE CAST 

Jim Gordon John Wayne 

Woody Jason John Carrol [ 

Brooke Elliotf Anna Le&[ 

Hap Davh Paul KellyS 

Alabama Smith Gordon Jones 

Blackie Bales Edmund MacDonald 



She tried not to smile. "You'll have 
a good many other things to figure 
out, before you're done." 

"Working on one right now," he 
agreed. "Which is — how do I find you, 
when you're not in the bath tub?" 

"You won't have to, Mr. Jason,' 
Brooke told him. "I'll probably be 
finding you — with a stretcher." 

Woody grinned. They could hear 
planes outside, roaring over the field 
Woody, watching thiough the win- 
dow, shook his head sadly. "Sloppy 
landing." 

"I imagine," she said, "that Squad- 
ron Leader Gordon is Wciiting fot 
you." 

"Then we'd better go," he answered 
Blandly, he took her by the arm and 
marched her out to the field. 

She walked stiffly by his side 
Woody said, "An awful thought jusi 
came to me. You're not married tc 
any of these roughnecks, are you?" 

"No, I—" 

"That's a break for you. Because 
now I've come to bring sunlight intq 
your bored life." 

"Just what makes you think I'nl 
bored, Mr. Jason?" 

"How could you help it, with 
crowd like this? Take Gordon, foi 
instance. Swell fellow, great flyer 
But when it comes to women — nc 
imagination." 

"Nothing wrong with your imagina- 
tion, is there?" 

"That's difiFerent. I get reactions 
Like you. Right now, your spine; 
tingling, just being near me." 

She gasped, found herself unable t. 
speak. They reached the field at th; 
moment and found Jim talking witr 
Hap and Tex. Jim greeted her gail> 
"See you and Woody have met. Gre; " 
guy, Woody. Or maybe he's told yo. 
so already." 

She nodded grimly. Jim presente: 
Woody to the other pilots. Tex arc 
Hap. A fellow named McCurdy froi; 
Brooklyn. A New Englander namt c 
Reardon. All shook hands with tl t 
newcomer. Jim turned to say a fe > 
words to one of the men about a nc v 
plane. Hap said, "Hear you've bei i 
in Rangoon, (Continued on page 91 ) 

PHOTOPLAY combined with movie mirh^ 



Bimbo and his "s+reamlined 
vamp," low-slung heroine 
of Bimbo's Ar+hurian story 



Tamara Gevo: She thought 
Jean was being polite until 
the phone call that evening 




M 



OLLYWOOD is cei-tainly of two 
minds regarding Jean Arthur — 
c" - that of those who just see or 
hear about her and that of those who 
h ,i really know her. For J ean is, with- 
((•yput doubt, the most misunderstood 
yjjiwoman in pictures. 
_[ii3 The most interesting angle of get- 
ing the lowdown on a movie star is 
,[,: f-'hecking opinions and rumors with 
acts. 

For example, an extra who would 
ather remain anonymous than have 
Central Casting put the black curse 
>n her for talking out of turn, said: 
"I can't understand why Jean 
Vrthur ignores us so completely. 
)oesn't she realize what a little 
riendliness and encouragement from 
1 star, and maybe a suggestion or 
wo, mean to us? It certainly 
ouldn't be any effort on her part 
kid us along a little. Gosh knows 
" need all the moral support we can 
t. But I suppose she walks past 
ithout seeing us because we don't 
tte screen credit." 
, Let's look in the notebook for the 
j)ji|nnswer to that one. 

!»TEMBEB. 1942 



— and why they think it! 
Some bitter-sweet rennarks 
about one of the most puz- 
zling women in Hollywood 

eY mmm \. mm 



Bill Holden had an experience with 
Jean Arthur that ought to enlighten 
this extra. 

"The first time I met Jean," re- 
called Bill, "I thought she must have 
heard terrible things about me. When 
they introduced us on the 'Arizona' 
location she just acknowledged it, 
looked at me for a few seconds and 
then walked away. 

"That jarred me, and as she didn't 
talk to me during the rest of the 
day, I decided she was unhappy be- 
cause I was on the picture. 

"But I had guessed all wrong. The 
next day she chatted with me a little 



and from then on grew more friendly 
each day. I learned that Jean couldn't 
help being that way with strangers 
and that she had to know people and 
have confidence in them before she 
could be herself. It's hard to imagine 
a movie star being that way, but Jean 
Arthur is shy. 

"So she's no hand at spreading the 
old personality among strangers. It's 
even hard for her to talk to extras, 
until after they've been around long 
enough to fit into the background. 
Then she does all right by them. 

"Some people can do a two-bit 
favor with the grand air of handing 
you half the world. But not Jean 
Arthur. It embarrasses her to be 
thanked and she curls up at the very 
thought of attracting attention. But 
if she can do something for somebody 
without anybody finding it out, that's 
her dish. She's positively furtive 
when she's being generous. 

"Just to give you an idea. One day 
on the ranch set a Mexican boy, a 
very fine guitarist and singei, was 
entertaining some of the people who 
had gathered {Continued on page 98) 

49 




There's one big trick to the cowboy trade. 
Roy Rogers learned it fronn a man who gave him a talking- 
to — and from a girl who gave him her heart 



As a mere lad Roy Rogers was an 
excellent boot maker. His father 
^ made cowboy boots in Cincin- 
nati. When the cowboys came from 
I the West to be fitted the youjig boy's 
5 heart returned to the far land with 
them. Vicariously he rode over the 
hills and valleys in search of stray 
cattle; there in the city by the Ohio 
River he learned the language of the 
plains. 

As he grew older he learned to 
ride a real horse owned by a man 
who often had boots made by Roy's 
father. The name of Dr. Walter Thom- 
son would not be important here 
except that unconsciously he held the 
stirrup that the future cowboy from 
Ohio might vault into the saddle of 
success. Seeing Roy's interest in 
horses, he invited him to his estate. 
(]Few at the house saw the boy, though 
the men at the stables and the horses 
saw him often. Roy's favorite was a 
sorrel mare named Queenie. She had 
a yellow mane and tail and eyes that 
had seen the level land of the West. 

There were six in Roy's family and 
ill were musically inclined. That is, 
■hey could play several contortions of 

'■RIMBEI!. 1942 



the musical art — by ear. "I could pick 
a guitar and mandolin like nobody's 
business," Roy said. The entire family 
was in demand constantly for wed- 
dings and dances. 

When times became difficult in 
Ohio, the family came to CaUfornia in 
an ancient sedan. But Roy's father 
discovered that, so far as economic 
conditions were concerned, he had left 
a better land. In California the cow- 
boy boot was made by machine and 
one who made boots at $35 a pair 
could hardly compete with a machine 
that turned them out at $7.50. When 
the only offer he could get was $17.50 
a week in a boot factory, he gave up 
and decided to return to Ohio. 

The sentimental youngster said to 
his father, "I came with you and I'll 
go back with you." 

Unknowing, he left his heart in 
California. He loitered in Ohio for 
some months before an opportunity 
came to drive a car to California for 
his transportation. Bidding good-by 
to his family and Queenie, he was on 
his way and within ten days he was 
in Hollywood. 

After trying his luck to no avail at 



different studios in the cinema city, 
he picked prunes in the San Fernando 
Valley. When his work was done his 
money was gone, as most of it had 
been sent to his family. So back to 
Hollywood he went and got a job 
hauling gravel for a golf course. 

During the third week a truck 
ahead of him broke down. As a re- 
sult there was a lull in labor. To 
break the monotony the young would- 
be cowboy sang a song of the West, 
while the world's greatest film cow- 
boy, playing golf on the course, 
stopped to listen. 

Oh give me a home where the 

buffalo roam. 
Where the deer and the antelope 

play, 

Where seldom is heard a discour- 
aging word 

And the skies are not cloudy all 
day- 

"That's a fine voice," the handsome 
film star cowboy said. "I wonder 
who it belongs to." 

The film producer with him turned 
away. He {ConUnued on page 85) 

51 



If you dared to lead a life like this girl's (take the way she went about her wedding!), 
you'd startle a lot of people, have much fun yourself — and be another Veronica Lake! 




The bride wore moccasins, the bridegroom, John Detlie, a smile; and in the front seat sot 



VERONICA took her father's hand. 
"They want me to test for 'I 
Wanted Wings,' " she told him. 
"Will you do everything the nurse 
says while I'm at the studio, Daddy, 
and wait quietly and patiently for me 
to come home?" 

He nodded and smiled. "Good luck," 
he whispered. 

That's the way it had always been 
in their family, Veronica reflected. 
Her mother and father backing her 
up at whatever she tried to do. 
They'd had a wonderful life together, 
too, the three of them, Mr. and Mrs. 
Harold Keane and their daughter 
Constance of Lake Placid, N. Y. 
They'd skied over Placid's slopes, 
spent winters lying in the sun at 
ami, had come together now to 
Hollywood, where Daddy's health had 
improved so much. 

"Good luck," her father had said 
to her before, when she'd decided to 
' v to crack this movie business. It 
id been at his advice that she'd 
rained with the Bliss Hayden Players, 
hereby acquiring a polish that set 
ler off from the millions of other 
.'xtras in Hollywood, set her off so 
nuch, in fact, that the test that had 
leen made of her caught Para- 
'nount's attention — and presto, there 



BY ROBERTA ORMISTON 

she was going oflF today to try out 
for the main role in "I Wanted 
Wings." 

She thought of John Detlie and 
smiled at how surprised he'd be to 
learn she'd gotten this chance. Johnny 
was wonderful and if he asked her to 
give up her career for marriage, she'd 
do it. But then, Johnny was in the 
business himself, a young set de- 
signer, and he understood just how 
exciting and challenging this Holly- 
wood could be. 

The only hard thing was that 
Daddy, on this great day, was sick. 
Veronica had sat up with him all the 
night, had caught only a few hours' 
sleep before she had to get herself in 
shape for the critical camera. And 
everything depended on this test, 
everything. . . . 

The nurse brought her out of her 
reverie. "This came by messenger," 
she said, handing Veronica a large 
package handsomely wrapped in 
cellophane. 

Inside the bright wrappings was a 
toy panda. A note hung on his ear. 
"Good luck and all my love. Johnny," 
it read. 



When Veronica reached the studio 
she found herself on a mad merry- 
go-round. They made her up. They 
set her hair. They fitted her with a 
sweater and skirt. They pinned and 
basted her into a dress covered with 
bugle beads. "You'll look aU right," 
they told her, "as long as you don't 
turn around." 

Everywhere she went the panda 
went too. 

For her test she did the scene where 
she flirts with a couple of fellows. 
They filmed it over and over; while 
the panda and the good luck he sym- 
bolized waited on the sidelines in a 
camp chair. 

A dozen times and more she said, 
"If you won't need me for a few 
minutes I'd like to telephone. . . ." 

The stage crew couldn't understand 
her. "Maybe she's got a guy on her 
mind. Maybe that's why she keeps 
running to the telephone. Maybe he 
gave her the panda." 

They were half right, anyway. All 
the calls Veronica made, save one, 
were to her house, to get word of her 
father, to talk to him while the nurse 
held the telephone. The other call 
was to Johnny. She must tell him 
what had happened after they had said 
good-night. (ConXxnued on page 81) 



^TTEMBER. 1942 



53 




to 




What has happened so far: 

IT IS Julia Burns of Gladstone, Ohio, 
who wins first place in the national 
radio contest to discover America's 
most beautiful and typical girl. The 
prize is a trip to Hollywood to play 
in a Warner Brothers picture. In a 
burst of glory, Julie says good-by to 
Gladstone and to her devoted admirer, 
sandy -haired Tod Jenkins, who all 
but proposes at the last moment, then, 
instead, merely asks her to send him 





Hollywood ideas for a house which 
he, as a rising young contractor, is 
about to build. 

Arrived in Hollywood, Ohio's most 
beautiful daughter is made luxuri- 
ously comfortable in an apartment as 
the studio's guest. Here she awaits 
Miss Scott Hendricks, whom she met 
on the train and who quite frankly 
possesses but one hundred dollars 
with which to make good in pictures. 
The girls, having found much in com- 
mon, have elected to unravel the 
mysteries of Hollywood together. 

Julia Burns's first day at the studio 
is a round of glamorous events, be- 
ginning with the changing of her name 
to Julie Bumette and ending with an 
invitation to a world premiere in the 
famous Chinese Theater, her escort, 
the studio's ace portrait photographer, 
Mr. Curt Melbourne. Julie finds this 




young man decidedly attractive, and 
Curt obviously returns the feeling as 
weeks go by. 

Julie's picture role completed with 
flying colors, she is asked to remain 
on the lot for special coaching with 
the possibility of a contract. 

Meanwhile Scott, having pursued 
the prescribed routine, has succeeded 
in getting a Screen Actors Guild card, 
plus a Central Casting registration, 
and is hopefully waiting an extra 
call. 

Tod writes to Julie faithfully, re- 
porting on the progress of his house, 
for which she, true to her promise, has 
supplied the latest in Hollywood ideas. 
Feeling certain that she will soon be 
given a picture contract, she is won- 
dering how she will break the news 
to Tod that she is not coming back 
to Gladstone, when she is plunged into 
despair by being told that her re- 
sponse to coaching has not warranted 
her engagement as a contract player 
and she is to be returned home. 

The story continues: 

MORE than once Julie thought 
back to that April afternoon 
when Curt Melbourne had asked her 
to marry him; that April day when 
she had faced the bitter disappoint- 
ment of knowing she was not to be 



lA chance at stardom, a proposal from a famous man, a role with Errol Flynn — all for 
I Julie Burns of Gladstone, Ohio. But could you bring yourself to do what Julie did? 

Based on "Hollywood Starlet" by Dixie Willson. the latest in Dodd Mead <& Company's popular Career Book series 



out under contract, whereupon Curt 
lad promptly offered the substitute of 
naking her Mrs. Melbourne. 

In her almost desperately unhappy 
;tate at that moment, she didn't quite 
enow how she had found the courage 
o say "No" instead of "Yes." She 
lidn't quite know how she had man- 
iged to stiffen her upper lip and real- 
ze that quite likely, he might be 
,orry for her instead of in love with 
ler. It was typical of Curt, that he 
vould thus come to her rescue, which 
lad at once been a challenge to her 
<wn sportsmanship. She hadn't ad- 
nitted, even to herself, that as another 
onsideration, she couldn't quite dis- 
egard the expectation she had long 
•ntertained of being Mrs. Tod Jenkins. 

She did admit to herself, however, 
Ithough not to Curt, that there was 
10 doubt whatever about the thrill 
■f having had the chance to say "Yes." 
^nd though she hadn't said she would 
aarry him, she couldn't have borne 
he thought of losing him, so it had 
een a tremendous relief when he had 
eclared that in spite of her answer 
e had no intention of giving her up. 

Afterward she felt sure it was the 
ssurance of his still standing by 

hich had made it possible for her 
3 go home to Scott, that day, with 
ne will to begin all over again. 

A few days later Scott had made a 




thrilling discovery, the discovery of 
a haven called The Studio Club where 
a double room with breakfast and 
dinner could be had for eight dollars 
per week. Not only that, but credit 
would be extended to girls in whom 
the club felt confidence. And so the 
last day in April found our would-be 
starlets in a sunny room at the Studio 
Club where they had resided for half 
a month. 

This morning Scott was energeti- 
cally attacking the mending basket. 

"This stocking of yours won't hold 
out another day. Miss Burnette,'' she 
announced. "You'll simply have to 
afford a new pair." 

Julie was busy wash- 
ing out their slips and 
handkerchiefs. 

"I'll take to socks," 
she declared briefly. 
. . . "What a day this 
would be for a picnic!" 

"I'm always a push- 
over for that idea," 
Scott responded. "Do 
you think we dare let 
up on job hunting long 
enough to get our teeth 
into one?" 

"I've been to every 
studio twice," Julie 
remarked. "They say 
three is a lucky 



Flynn and Julie found a 
quiet little corner on 
the set. "It's going to 
be o nice scene," he said 



BY m\[ mmu 



ILLUSTRATED BY SEYMOUR BALL 





Julie 



number, so maybe my third round 
will turn the trick." 

"If I don't get extra work by May," 
offered Scott, "I'm going after a job of 
clerking or fiUng cards or something, 
although the deadly thought lurks in 
my mind that I'll find a stranded extra 
already in every job!" 

"And that's no fairy tale," com- 
mented Julie. "Every theater where 
I've aspired to usher, has a waiting list 
a mile long of the beauties who didn't 
make screen history. . . . But, of 
course, I haven't tried all the theaters," 
she added cheerfully. "No doubt there 
are others positively crying for 
ushers!" 

"Yes and there's bound to be a day," 
added Scott with spirit, "when the 
Central Casting operator will say 
something to me besides . . . 'No work 
. . . No work . . . No work.' " 

Julie hung the last item of the wash 
over a towel rack. 

"I'm going to get dressed and go to 
the studios right now," she decided, 
suddenly. "I've been putting it off be- 
cause I couldn't bear the thought of 
being turned down again. But if that's 
how it's going to be, I may as well hear 
it now as some other day. . . . What 
shall I wear, my black dress or black 
suit?" 

Scott considered. 

"The suit," she decided, "and you 
better borrow my yellow shirt because 
everybody is in a springtime mood. If 
I go out, I'll wear your russet." 

The idea lent a note of new interest 
to both wardrobes, and Miss Burnette, 
in Miss Hendricks's yellow blouse, was 
just about to take off . . . when the 
telephone rang! 

"Hold your breath," she said, closing 
her eyes for one swift second of con- 
centrated hope. "Maybe it's a studio!" 

58 



But it wasn't. On the other end of 
the line was merely the blithe voice of 
Curt Melbourne inquiring if Julie 
would be available for luncheon and 
suggesting that she might like driving 
to the beach to some quiet little place 
where they could watch the breakers 
roll in and laugh at the long-legged 
sandpipers scurrying along the shore. 

"It would be wonderful," JuUe said, 
promptly, in fact almost too promptly, 
since she didn't want Curt to know 
how much she depended upon hearing 
from him every once in a while. . . . 
She didn't want him to know what an 
important part of her days he had be- 
come. . . . 

IT was easy for May and June to 
come and go, in California, without 
the girls' realizing that spring had be- 
come summer. It was not so easy for 
them to overlook the fact that, as 
weeks went by, opportunity did not 
materialize for either of them. 

For Scott, things seemed dishearten- 
ing indeed, though for Julie there was 
always one glory ahead; the premiere 
of "Proud Pageant," the picture in 
which she had played Miss America. 
She had no idea when the thrilling 
event would take place for Curt had 
explained that the lapse of time be- 
tween the completion of a picture and 
its premiere, was governed entirely 
by when it seemed to fill a box-ofiice 
need. Whereas one picture might be 
finished on Friday and previewed on 
Monday, another would be finished, 
canned, and kept in the studio safe for 
months. It was fairly certain, however, 
that the "Proud Pageant" premiere 
would be announced with late sum- 
mer, an anticipation which provided 
a buoy for Julie's spirits when all else 
failed. 

Also there were letters from Tod. 
She forever found them comforting, 
although she didn't quite know how to 
regard his devotion. Looking up from 
reading her latest home-town news, 
one July afternoon, she said to Scott: 
"I don't know what to make of Tod. 
I wonder if he realizes that he's never 
even asked me to be engaged to him. 
Listen to what Mother says: 

" 'Tod looks positively wilted, when 
anybody talks about you. He hasn't 
even so much as glanced sideways at 
any other girl. He is working like a 
beaver on his house and it is certainly 
going to be the show place of Glad- 
stone. Remnants of your swing are 
still in the elm tree. It seems to me 
that Tod works on the house with 
special consideration for how much 
you love that tree. 

" 'Everyone is having lots of fun in 
town this summer. There are dances 
in the Pavilion and lovely garden par- 
ties. Since Hollywood is such an 
exciting place, I suppose you haven't 
time to be homesick, but Tod isn't the 



only one in Gladstone who misses yox 
Your father and I are constantly aware 
of how empty the days have been 
without our Julie.' " 

Abruptly she stopped reading, swal- 
lowed a couple of times and put thi 
letter in her pocket. Scott was hastily 
endeavoring to think of just the righl 
thing to say when there came a knoci 
at the door and the gay "Hello" oj 
Carmen, that successful little extra 
who owned a car and often gathered 
up the girls for a ride into Laurei 
Canyon to Moe Chateau, a homej 
little restaurant for picture people 
whose proprietor was Miss Henriettc 
Moe, a one-time character actress. 

SUPPER at the Chateau was th. 
object of Carmen's call today, anc 
soon Carmen, JuUe and Scott were or 
their way to the hills, happily desert 
ing glaring boulevards for banks o 
green ivy and wild blue lupine. 

Carmen inquired as to what luck, i 
any, the girls had had with Cent:-s 
Casting and the studios. 

"No luck, if any," Scott replie- 
bluntly. "Hollywood's certainly th 
toughest nut / ever tried to crack.' 

"I know," Carmen commented. " 
often wonder why it fascinates s 
many people." 

"You should certainly know," sai 
Julie. "You've probably worked mor 
actual days than anyone in the pictur 
business. It fascinates you, doesn 
it?" 

"Yes, I suppose so," answered Cai 
men truthfully. "But there are daj 
and days when I come home at nigl 
so tired I can hardly see. You wei 
talking about summer garden partie 
Julie, where girls wear organdy ar 
picture hats. Well, I spend my Ja 
afternoons on sound stages. For ir 
stance, all (Continued on page 3i 



Curt 





ON THE 
DATE ritONT 



To make a girl dance divinely, look 
the same and set a man dreaming of 
castles in Spain — this black souffle 
dinner dress designed by Edith 
Head, worn by Anne Snirley in Para- 
mount's "Lady Bodyguard." Sheer 
black lace makes shoulder insets; 
the full skirt is split in front; black 
lace bands trim the front panels. A 
kerchief with a lace border is fash- 
ioned at the shoulder to make a dis- 
arming mantilla, shadowy setting for 
a last-minute close-up at midnight 




Iftember, 1942 





• Say suede, then say It 
again, because It's the byword 
of autumn, 1942. The Shirley 
setup is on Edith Head apri- 
cot short-styled coot with 
large saddle pockets. Th« 
bottom of the coot has on 
edge on advance fashion with 
rows of hand-stitching. Tiny 
beanie, purse and gloves art 
of matching apricot sued* 



You can look as 





Hollywood stars soy suits and more suits for foil — but the 
right kind of suit. Dotty wears that kind here — a 100 
percent wool Hound's Tooth Tweed in a smart brown or 
green combination. The skirt has a box pleat to give dash 
—and easy action; the smooth little jacket does wonders 
for hips and shoulders. So you think you can't wear a suit? 
Well, try this one and you'll start standing before mirrors! 



Skirt, $6.98; jacket, $12.95, matching slacks, 
$7.98. Pure-wool sweater in pastels, black or 
brown, $3.50. At McCreery's in New York 

62 



PHOTOPLU MOVIE MIRHOR'S 
U\m GUIDE TO F^SHIONi; 



• 



Here's your chance to dress like a star in clothes 
that suit your purse — and suit you! Each nnonth 
Photoplay-Movie Mirror takes one of its readers, 
dresses her in the clothes you yourself can buy 
in the smartest places, at the smartest prices, 
turns her into a girl who'll make people stop, look 
and listen. The girl of the September month is 
Dotty Rock. She works as a receptionist in aji 
New York City book publishing house. These 



are the clothes she should wear — these are. I 



the clothes you'll want to wear, toe 



■ 



PHOTOPLAY combined with movie mikmiI 




Cast your eyes down below 
and see what Anne Shirley's 
sporting — a jumper dress de- 
signed by Edith Head for 
"Lady Bodyguard." That 
means the jumper's in; on 
the campus, in the classroom, 
in the office, everywhere un- 
der the autumn sky. And now 
for the month's surprise . . . 



/ou con buy these "Smart As A Star" fashions shown on these 
pages at McCreery's in New York. Simply write, phone or go there! 



. . . Look over at the left qnd 
then clap your hands with 
joy because here's an exclu- 
sive New York adaptation of 
the jumper. It's in fine wale 
corciuroy and it's the best 
buy you've had in a long 
time. Its nipped-in little 
waistline will give you a fig- 
ure a la Shirley; its flared 
skirt will flatter you right in- 
to the front date ranks; the 
white tailored blouse will 
make you pretty as a picture. 
It comes in luscious red, 
green, beige, blue or brown. 
You don't hove to go to 
Hollywood for styles — Pho- 
toplay-Movie Mirror's bring- 
ing Hollywood styles to you! 



Jumper, $5.98; tailored 
shirt, in white, maize, 
powder blue, pink, $3.98. 
Classic felt, $5.00; 
Pouch bag, $2.98; Pigskin 
gloves, $3.98; at McCreery's 

63 




Some fast double-talk on Humphrey Bogart. We give love and kisses to a 
tough guy; he finishes things off by throwing some scallions at himself 



Things We like About Bogie 
BY SABA HAMILTON 



HIS lips. His howling sense of 
humor. The way he fools 
around the posies in his garden. 
His love of boats at bay. Or anchor. 
Or whatever they call it when boats 
don't go anywhere. His normal adjust- 
ment of actor to man and man to actor. 
The way he laughs at himself. The 
first-class arguments staged by him 
and his wife Mayo on all and any oc- 
casions. His comical analysis of each 
battle, the whys aind wherefores of it. 

These we like about Humphrey Bo- 
gart. Like, shucks, why understate? 
We're crazy about Bogie and his foibles. 

The way he greets everyone, high 
and low, press or visitor with "What 
can I do for you, kiddie?" and the 
look of complete innocence that goes 
with it has panicked many a notable. 
It's a howl to see and hear. 

His thorough disgust with phony 
society and the strivings of would-be 
socialites is a riot. "When I get around 
to giving a party," he'll say, "it will 
put all these amateurish attempts at 
highfalutin party-giving in the shade. 
None of my guests will be required to 
cross the street and contaminate their 
booties. Me, I'll dig a tunnel under 
the street for their exclusive use. Then 
I'll hne the tent (got to have a tent in 
the back garden, you know) with 



orchids. No lousy gardenias, see, but 
orchids. Of course, the tent will be 
made of silver cloth. Oh, I tell ya, 
kiddie, it will be swell. Mayo and I 
can wreck the joint afterwards — and 
maybe you think we wouldn't!" 

His philosophical attitude toward his 
work is endearing in a land of frus- 
trated artists. "All I ever ask," 
Humphrey says, "is that George Raft 
and Paul Muni be given all the good 
roles here. In that way I get to do 
them eventually." 

He's right. Raft walked out on 
"The Maltese Falcon" and left it wide 
open for Bogie. Muni did the same 
thing on "High Siena," Bogie's big 
hit. He should complain about taking 
someone else's leavings. Not that 
boy! 

He's got a straight seven-year con- 
tract at Warners with no options and 
not much choice of roles; and he's 
happy about it. Nuts to the worries 
and the boys who must pick and 
choose every role, Bogie feels. And if 
you lived in Hollywood you'd ap- 
preciate what a heavenly relief it is, 
to find someone contented with his 
lot. Brother, we love him for it. 

Because everyone everywhere calls 
him "Bogie," in print or out, pleases 
us in the man. Because he calls Mayo 



"Sluggy" for the simple reason sh 
occasionally threatens to let him ha\- 
a good one in an argument, kills u 
It kills Mayo, too. She loves it. 

That he can be happier on his thirt>' 
foot sloop, named "Slugg>'" for Mayc 
than J. P. Morgan on a yacht the siz 
of New York City is comforting. Th 
boat doesn't have to go anj-wher 
either, to please him. He and Ma\- 
will spend as high as three and fou 
weeks at a time keeping house, cook 
ing, fishing, sleeping on the 
anchored at one spot. When the wa 
prevented its leaving port, Humphre 
launched it on a small lagoon and ha 
as much fun as if he'd been goin 
somewhere. 

He appreciates the value of go. 
publicity and goes for it Uke a go> 
fellow. Need we express the extent 
our appreciation for this gladsor 
failing, if such it be? 

He'll invent stories if he can't thir 
up anything original. For the bene 
of a goggle-eyed writer from the K 
(we're on to him out here) hell 
into elaborate details of the imaginr 
worm farm he's purchased to suppl 
bait for fishermen. The writer depa: 
happy, his copy fresh and new eve 
if it is a bit wormy. Bogie is just 
pleased at (Continued on page SS 



64 



PHOTOPiAY combined icith Movit mik:^ 



In The 



Fhings I Don't Like 
Hout Myself 
lY HUMPHREY BOGART 

(As told to Sara Hamilton) 

HAVEN'T the guts to stop smoking. 
To even try. I don't like it. It 
shows lack of stamina. Got a 
igaret on you, kiddie? 
Maybe I should have ambition, 
[aybe it's better to be one of those up 
nd raring guys. But I figure my 
osses know what they're doing. They 
lUst be making money on the pictures 
ley put me into or I wouldn't be 
ere. Still, maybe I should fuss more, 
ut me down as not liking the fact I 
aven't too much ambition. 
Take my clothes, now. Maybe I 
lould dress up more. Mayo says she 
asn't been able to get shoes on my 
et since we've been married. She's 
ght. I have two pairs of shoes I've 
id for ten years, bought them in New 
ork and never wear 'em unless I go 
jck there. I wear these soft sandals 
1 the time. 

Maybe I should be more formal in 
y dress, but look, I figure this is a 
opical climate, isn't it? Okay, why 
t done up like Park Avenue to prowl 
rough the mulberry bushes to get to 
meone's house? Why not dress to 
it the place? Or am I wrong? Put 
e down as saying I should dress up 
ore. But don't say I don't like it in 
yself, kiddie. I love it. 
Gastronomically I like steak or chops 
r dinner and that's it. My own wife 
fuses, at times, to have any part of 
3 at meal times. Says she can't look 
other steak or chop in the face. So 
len she gets fed up she thieatens to 
t alone in some other part of the 
use. I like my food plain and none 
this business of hiding it under 
avy or sauce. I want to see what 
■at. And none of this dessert busi- 
es, either. Jello draped up like the 
ipire State {Continued on page 88) 

jtlMBEB. 1942 




What's sauce for the big bad goose is sauce tor the pretty 
gander in the Bogart household. Bogie teaches wife Mayo how 
to put up with him; she comes right back and needles him 



65 



He answers to all ttie romantic te^ 
in adventure novek— daredevil, i 
dier of fortune, brave mous<fueta 
He answers, too, to tt»e title of 
actor of genius — Brian Donlevy, >t 
came to stardom weortng a cIk> 
ered vest in "The Great McGtnb 
He wos bom ronrtontically in Coaf 
Armagh, Ireland, educated in do* 
to-eorth American fashion in Shebi 
gan Fails, Wisconsin. A turn v 
Pershing in Mexico, a sojourn ot 
napolis, a part in the first big fi: 
in France — and then Hottywoc 
where he came to fame and fou 
his love. Her name b Marjorie, c> 
he writes her verses, a schoolboy : 
ent that he balonces nicely <»m. 
straight left upon necessity. He \ 
gray-green eyes, straight brown K 
and a great, generous heart. \ 
name is legion now as a leathern c 
nnajor on the impressive cast 
"Wake Island," Poromount's stirri 
tribute to the United States Mori 




Wedding-bell setup: Myrna's green silk coat, print dress, the little straw hat 

The bride, Myrna Loy; the bridegroom, John Hertz Jr. The story: All those intimate 
details you want to know. How they met, what kind of man he is, when they fell in love 

BY i\DELE mmU FLETCHER 



THESE are days of sudden mar- 
riages. The uncertainty of war 
veils even tomorrow. Men and 
women take their happiness when 
and where they find it. 

A handful of days after Myrna Loy 
established her freedom at Reno, she 
and John D. Hertz Jr. were married, 
on June sixth, to be exact, at his sis- 
ter's house in New York City. Their 
closest friends were incredulous. 

"That Myrna!" said the Holly- 
wood girls, one to another. "Imagine 
getting married without all the col- 
umnists' knowing about it beforehand! 
It proves we can have a private life 
if we won't go around screaming we 
want to be left alone, if we'll just give 
"P our dark glasses!" 
John's friends were wide-eyed. "We 



were sure he was a confirmed bach- 
elor!" they admitted. "When a man 
of John's position and income, charm 
and background remains single at 
thirty-five years of age you doubt 
he'll ever marry!" 

The columnists who, for once, didn't 
tell the world, consoled one another. 
"How could we know? Nobody even 
saw them together at a theater or a 
night club!" they protested. "Where 
did they go and what did they do, 
anyway?" 

Thousands of citizens reading in the 
newspapers that John had married the 
screen's perfect wife queried, "Who is 
John Hertz Jr.?" 

It's time all these questions were 
answered. 

John Hertz Jr. is no stranger to 



social and professional circles. He has 
squired many debutantes and movie 
stars to the theaters and exclusive 
night spots around New York. In his 
earlier Chicago days he played an out- 
standing game of polo. For the last 
several years he has lived in a beauti- 
ful duplex apartment high over Man- 
hattan. He's executive vice-president 
and one of the owners of Buchanan 
and Company, a large advertising 
agency. It's the motion-picture ac- 
counts they handle that introduced 
John to Hollywood. 

After John was graduated from 
Culver Military Academy and Cornell 
he made his way to Buchanan and 
Company where he's known as an 
indefatigable worker. He has as much 
enthusiasm for his job as he has for 



51PTEMBEF. 1942 



67 




Myrna and her 
husband, Arthur 
Hornblow, gave 
a party in Holly- 
wood. Hedy 
Lamarr was 
there — and so 
was a young 
businessman . . . 



the numerous and varied books he 
reads, the music he loves well, the 
sculpture which is his hobby. In 
fact it is his great energy and en- 
thusiasm that have always made him 
the colorful figure he is in work and 
play alike. 

It was in Hollywood that John and 
Myrna first met, at one of Myrna's 
popular supper parties. If she and 
John fell in love with each other 
then, without realizing it — the way 
men and women sometimes do — it 
would be understandable. 

Myrna was one of the loveliest of 
Hollywood's lovely hostesses. She 
flavored her parties with little cere- 
monies; soft candlelight at dinner, 
lamb served on skewers, crepes su- 
zettes cooked in a chafing dish on the 
sideboard. And her guests never were 
an ill-assorted, uncongenial group, 
but men and women chosen to bring 
out the best in one another. 

Myrna's come a long way since she 
was Myrna Williams of Helena, Mon- 
tana. But as Gary Cooper's mother, 
an old Montana neighbor, says, "She's 
the same sweet child, with the same 
winning way." 

Myrna's a rare combination. And 
John Hertz Jr. is a sensitive enough 
young man of the world, Manhattan 
particularly, to appreciate just how 
rare, just how desirable. 

As a guest John, in turn, is the 
answer to a hostess's prayer. He never 
sits back and waits to be amused. 
He has the all too-rare faculty of being 
interested in what people happen to 



be talking about. He's adept at get- 
ting them to talk, too. Dancing's no 
passion with John, but he dances 
easily, and well. Better still, he's elo- 
quent in his appreciation. His warm 
enthusiasm is the most characteristic 
thing about him. He's appreciative of 
the subtle graces of good living — the 
delicate flavoring of herbs in a fine 
salad, the skill in mixing a martini 
just right, how to match an orchid to 
the color of a lady's eyes. 

THIS explains many things. This 
explains why they naturally had 
gravitated towards each other. This 
explains all the unforgettably good 
times they had had just sitting and 
talking; whether they talked about 
sculpture (Myrna has long worked 
in clay as a hobby, too), sunrise over 
the Arizona desert as seen from a 
plane, or the latest Disney film. 

After their first meeting John and 
Myrna encountered each other often. 
It was, of course, the warmth and ex- 
citement that flowed between them, 
even while they were unaware of it, 
that made the least word they ex- 
changed shine and glow and sparkle. 

However, it wasn't until Myrna quit 
trying to save her marriage to Arthur 
Hornblow, not too happy or too solid 
during the past several years, that she 
or John admitted, even to themselves, 
how it was with them. 

When Myrna arrived in New York 
for a holiday before returning to 
Hollywood to work with Bill Powell 
on "The Thin Man Returns" (And 



more "Thin Man" movies with Bill as 
Nick and Myrna as Nora are what thi 
sad world needs!) it was inevitablt 
that she and John should meet again 
Quickly they decided to be married 
It would be three months before 
Myrna possibly could be in New York 
again. John couldn't tell if or when 
he would make another trip to Holly- 
wood. And who knows in times as un- 
certain as these what will happen be- 
tween spring and midsummer? 

John and Myrna went no place 
where they might be seen. They dined 
with friends at home and in Myrna's 
apartment at the Drake, a quiet, ex- 
clusive hotel on upper Park Avenue 

They were married on Saturday 
June sixth. Early Friday morning 
June fifth, John telephoned his sister 
who has a house in Manhattan's fash- 
ionable East Seventies. 

I HAVE a surprise for you," he told 
her. "I'm going to be married! 
She put her coffee cup down 
quickly. "What did you say. John?" 

"I'm going to be married! To- 
morrow! To Myrna Loy!" 

"John Hertz." she said, "talk sense.' 
"I never talked more sense in my 
life. " he assured her. "This is the 
most wonderful. . . ."' 

"If you think it's wonderful, I do 
too," she said. "And if there's ony- 
thing I can do — anything at all. . . . 

John's a man of action. "There is! 
he said. "If you would offer us your 
beautiful drawing room in which to 
be married and give us a buffet supper 



68 



PHOTOPLAY combined with movie mimic* 



Only close friends 
knew in advance of 
Myrna's marriage. 
But she and John 
themselves gave 
' out the details 
afterwards, the 
romantic story 
you read here 





in your garden it would be perfect. 



I 



\\ "Leave everything to me," she said. 

: "Hang up. I must call the caterer 
about a wedding cake. I'm going to be 
a busy woman, and I'll love it!" 

■ He telephoned his other sister. He 
telephoned his mother and father. 
He telephoned half a dozen friends. 

1 Myrna also was busy on the tele- 
phone. She called her mother in Mon- 
tana; the Bill Powells, Mr. and Mrs. 
Nicholas Schenck, Lt. and Mrs. Ray- 
mond Ramsey, Mr. and Mrs. Robert 
Rubin, Leland Hayward and Mr. and 
Mrs. Martin Gang. To all she said 
simply, "Say nothing about it to any- 
one, please. We want to be married 
luietly, John and I!" 

■ Myrna shopped for her wedding 
iress, carefully avoiding all publicity, 
ier favorite shop, remembering her 
■ed hair and her green-as-the-sea 
•yes, sent to her hotel apartment, 
mong others, the pink and green silk 

.a-int, the bright green silk coat and 
he straw bonnet with pink roses 
vhich Myrna selected and wore so 
evastatingly. 

Six o'clock on Saturday afternoon 
lyma, John, their families and their 
iends gathered in his sister's draw- 
ig room. Justice Pecora was there 
) perform the ceremony. 

Finally, he called to them softly 
om the end of the room that was 
inked with flowers and lighted 
the tiny flames of tall white 
indies. . . . 

"Are you ready? John? Myrna?" 

PTEMBER, 1942 



They arose from where they were 
talking with friends and walked 
toward him. 

He used no book. His questions, 
which followed the civil ceremony, 
were simple. John's ring circled 
Myrna's finger. And he was the first 
to congratulate them, as he meant 
to be. 

"Myrna," he said, "I've known you 
for years. God bless you! I'm glad 
to start you and John on your way 
together. With John I know you'll find 
the happiness that should be every 
gentle, loving woman's portion." 

He spoke to Myrna and also to the 
guests who were gathered round them. 
He wanted all to know John had 
chosen wisely. 

John's mother, grown fond of Myrna 
even in the short time she had known 
her, came forward and kissed her. 
And soon the silence which had been a 
little solemn gave way to congratula- 
tions and good wishes and bright 
laughter. 

Myrna and John had wanted the 
days preceding their wedding for 
themselves. They had wanted the 
ceremony to be private. This they 
managed, amazingly well. But Myrna 
didn't forget the press who have been 
her friends always. 

At a late hour that afternoon John's 
secretary had telephoned all the 
newspapers and all the news services. 
No reporter, no photographer was 
forgotten. No reporter, no photog- 
rapher, was given an opportunity to 
scoop the others. 



After the ceremony Myrna and John 
led their guests to the charming gar- 
den. Birds who somehow find their 
way across the city to Uttle hidden 
gardens sang to them. A long table, 
laid with lace and crystal and china, 
was garlanded with flowers. Toasts 
were drunk. Myrna cut their three- 
tiered wedding cake. 

"Are you going to continue making 
fikns, Mrs. Hertz?" someone asked. 

"I have loved picture-making," 
Myrna said, "and would love to make 
more. But my husband's wishes will 
determine my plans for the future." 

AT this point John spoke up— 
"We're off on our honeymoon. 
One big decision at a time!" 

Lights appeared all around in sky- 
scrapers obliterated by the darkness. 
But they were dim lights, dimmed be- 
cause of war. And a maid put shades 
on the candles that burned on the 
supper table. 

John looked at his luminous watch. 
He said, "We'll have to be leaving, 
Myrna." 

There were au revoirs. There 
were tears. No wedding is happy with- 
out them. And Myrna and John were 
on their way to Florida where they 
drove along the blue coast, swam off 
warm beaches and dined under a soft 
moon and a starry sky. 

Now they're back in New York. 
And, from the stars in their eyes when 
they look at each other, the romance 
is only beginning. 

The End 



69 



This Ladd for Hire 



(Continued from page 36) wielded a 
sprightly brush and was eager for work. 

Young Ladd, reading the signs, pitched 
right in and turned partial support of 
his family, selling newspapers. He never 
stopped working from then on . . . pick- 
ing apricots, jerking sodas, working as a 
lifeguard, selling adding machines. 

North Hollywood High is the place 
where he set up some interscholastic 
swimming and high-divLng records. North 
Hollywood High is also the place where 
he was sold down the river by life. 

Came senior year and he was cast as 
Ko-Ko, the Lord High Executioner in 
"The Mikado." He got nine curtain calls. 

He was taking off his prop beard when 
someone knocked on the dressing-room 
door. Who was knocking on the door? 
It was Life, Hortense, Life. And about 
to sell Ladd down the river in the person 
of an important-looking man who said: 
"Nice going, Mr. Ladd, and may I present 
you with my card?" 

The man's name seemed blurred. All 
Ladd could see, writ in red, so to si>eak, 
were the two words Universal Pictures. 

"What's the angle?" (Cautiously.) 

"I'm about to explain." (Businesslike.) 

The angle was this: Universal Pictures 
was rounding up the best amateur talent 
available, same to be groomed for work 
in motion pictures. 

"You mean I'm picture material?" 
(Dubiously.) 

"Definitely." (With emphasis.) 

Which is how Alan Ladd was detoured 
from a rather vague ambition of becom- 
ing a journalist and became an appren- 
tice actor. 

I J NIVERSAL PICTURES, you might as 
^ well know, soon rued the day it 
launched the academy for amateur actors. 
The material recruited was awful. One 
half of the white hop)es were casualties 
at the end of the first month; one half of 
the remainder fell by the wayside at the 
end of the second month; a handsome 
young juvenile named Tyrone Power was 
sacked at the end of the third; and the 
four suvivors, among whom was Alan 
Ladd, were dropped — along with the 
whole project — at the end of the fourth. 

A trifle reluctantly, he recalled his 
former ambition to be a journalist, inter- 
viewed evei-y managing editor in South- 
ern California and came up with a job 



on the San Fernando Valley Sun-Record. 
He did surprisingly well. He was ad- 
vertising manager at the end of a year 
and headed for big things when he 
realized it was no use; he still wanted to 
act. So he threw up his job one after- 
noon and caught the last train out for 
Hollywood. 

He managed to get signed up as a 
"grip" and for two years he worked 
on sound stages. At the end of that time 
he quit his job, drew his small savings 
from the bank and enrolled at the Bard 
Dramatic School. 

He had money enough only for a single 
term, so he made every minute count. 
He was a brilliant student, turned in such 
a rousing performance the last play of 
the season that scouts from RKO and 
M-G-M offered him screen tests, prom- 
ised him contracts. By one of those in- 
credible quirks of fate, both sponsors 
were given the heave-ho by their studios 
before they got around to signing 
Ladd up. 

Disheartened and disillusioned, he de- 
cided to concentrate on radio and 
wangled himself a spot on KFWB. 

Then, after two years of radio emoting, 
it happened. 

He had just finished playing "The Far- 
Off Hills," and was walking out of the 
studio when the receptionist yelled after 
him: 

"Oh, Laddie, Sue Carol, an agent, 
caught the program and wants you to 
come by tomorrow morning at nine." 

THE next morning Alan Ladd and Sue 
Carol met. They took to each other like 
orange blossoms take to June. 

"I think you're a great actor — with a 
great future," Miss Carol said, after a 
mere ten minutes, "and I think I can 
prove it to you." 

"I think you're a great agent, and you 
don't have to prove it to me," the one- 
man radio station said. 

Sue Carol spared neither time nor en- 
ergy to prove it to both of them. Two 
weeks of concentrating on Ladd and she 
got her first nibble. Director Frank 
Lloyd offered her client a small part in 
"Rulers Of The Sea," the role of a young 
voyager who gets sick aboard ship. It 
wasn't exactly a flashy bit, but at the 
hands of Alan Ladd, hungry to act, it was 
a miniature masterpiece. 




Clubblly Stork-Clubbing In New York; Alan Ladd and agenf-wife Sue Carroll 
70 



By degrees, producers were educated 
to the fact that Ladd could turn out 
magnificent bit jobs. The drawback was 
that they came to associate his name with 
brilliant bit parts and nothing else. 

For two years it went on that way, two 
scenes in "Captain Cautious," the juvenile 
lead in "The Black Cat," which never 
hit first- run theatres, ditto in "Her 
First Romance" and "Paper Bullets' 
which nobody ever heard of. At which 
point Sue Carol suddenly got wind of 
a script called "Joan Of Paris," in which ' 
one of the five RAF fliers who have 
bailed out over occupied France dies in 
the Paris sewers a matter of minutes 
before his deliverance from the Nazis. 
Whereupon she went out and bagged it 
for Ladd. 

Perhaps you will remember how big 
he made that part if you will hark back 
to the scene where Ladd is delivering 
his glowing apostrophe to England, which 
he will never see again, while "Thomas 
Mitchell is chanting, "The Lord is My 
Shepherd, I shall not want. . . ." 

On the very day Ladd finished the 
picture. Sue Carol received an interest- 
ing telephone call from Mr. William 
Meiklejohn, Supervisor of Talent and 
Casting at Paramount. Mr. Meiklejohn 
had a problem and a proposition as 
follows: The thriller -chiUer, "This Gun 
For Hire," due to begin in a day or 
two, had no killer and how would Alan 
Ladd like to test for the part? 

Why try to keep you on edge? You 
know that his test was so terrific that 
they never even bothered to finish it 
You know that he got the part. And that 
he gave an unforgettable performance. 

Alan Ladd was in. 



IT is certainly a pleasure to fasten the 
happy ending onto a story which you 
have recognized as the Cinderella stor.'. 
male model, a dozen paragraphs back. 

Of course, he married the girl. He 
would have been a dope not to have. As 
a matter of fact, he first proposed during 
the shooting of "Joan Of Paris." Sue said: 
"Maybe — later." Actually there was no 
maybe about it. Sue loved the guy and 
she knew it. But what kind of an agent 
would she be to let her heart run away 
with her when the flight might imperU 
her client's career? 

The night of the sneak preview of "This 
Gun" settled it in Sue's mind. Laddie 
got a tremendous ovation from the crowd. 
And the cards were veritable mash notes. 
With a reception like that. Sue felt, audi- 
ences everywhere were sure to love him, 
bachelor or benedict. 

On March 15, they drove to Mexico 
in Laddie's roadster and got married. 
Laddie filled the rumble seat with orchids, 
tied tin cans to the car and tossed rice 
at the bride — all by himself. 

"This one will be it, Sue," Laddie said. 
Perhaps he was thinking of their pre- 
vious marriages, both of them unsuccess- 
ful, and of the children resulting from the 
marriages — for Laddie. Alan Ladd Jr, 
and for Sue. Carol Lee Wilson. 

Late summer, this year of grace 19^2, 
and they are living happily ever after, 
although, naturally, things do get a bit 
complicated, mostly for Sue. Every now 
and then she finds herself telling an ."it- 
tentive producer: "I've got the best hus- 
band — I mean actor — in the world and 
he belongs in your next picture." 

It is purely a reflex and a wasted one. 
at that. Ladd's services belong exclu- 
sively to Paramount which shudders at 
the very mention of lend-lease. 

This Ladd is distinctly no longer for 
hire. 



The End. 
PHOioPLAY combined with movie MWiiflt 




ENGAGED 



A Virginian^s exquisite bride-to-be, 
Marilyn Bauer of Washington, D. C. 
Her engagement to Courtland Davis, Jr., 
of the prominent Alexandria family 
was announced in June 




li IFEEK END REUNION at the University 
* of Virginia. Courtland, Marilyn and Navy 
friends on the promenade of the Jefferson 
Library. He is a second-year medical 
I student, '44," and hopes to go directly 
into the U. S. Medical Corps. 




THE CLASSIC GRACE ot the library's Rotunda Balcony is a perfect setting lor 
Marilyn's loveliness — her fair hair, blue eyes, porcelain-smooth skin. Every 
Virginian loves this beautiful building on the University of Virginia "grounds.' 






V« ENGAGEME.NT 
iniond is a .sparkling, 
1' -white solitaire. 
II- handsome stone 13 
' with fine simplicity 
a plain gold band. 



Very much of a live-wire Ameri- 
can girl, Marilyn is up to her ears 
in war work on call for Canteen 
Duty, and busy with the Motor 
Corps. She's hardly time even 
to dream about her wedding in 
September. 

"When there's such a lot to do, 
your face can't help looking tired 
sometimes," she told us. "I surely 
am thankful we are not asked to 
give up Pond's Cold Cream. 
Nothing seems to give my skin 
such a clean, soft feeling." 

She pats Pond's Cold Cream 



carefully, with gentle little pats, 
over her face and throat. Thi.s 
helps soften and release dirt and 
make-up. She tissues off well. She 
"rinses" with more Pond's. Tis- 
sues off again. 

Use Pond's every night — and for 
daytime clean-ups. You'll see why 
war-busy society leaders like Mrs. 
John Jacob Astor are Pond's users, 
too. And why more women and 
girls all over America use Pond':- 
than any other face cream. Buy a 
jar at your favorite beauty counter. 
Five popular-priced sizes — the most 
economical the lovely big jars. 



IT S NO ACCIDENT SO MANY LOVELY ENCAGED 




ftlMTin. 1942 



71 



Anna Neagle's London Diary 



(Continued jrom page 44) And then, as 
I realized that amidst this devastation 
people were taking their usual Sunday 
afternoon strolls, I felt a great pride and 
confidence. 

At the {censored) Hotel we were greet- 
ed by the commissioner whom I had not 
seen since "Victoria The Great" was 
premiered in this seaport city and it was 
as though I had never been away! People 
do not look strained or tired although, 
of course, three out of four of the men, 
young and old, are in uniform. Had, too, 
my first sight of girls in uniform and 
they looked simply marvelous! 

Arrived in town (London) in complete 
blackout — worse than blackest fog. You 
haven't any idea where you are and 
everything is so silent! 

Curtains of this hotel are drawn tight- 
ly; edges of windows blackened, but there 
is no sign of war in the demeanor of at- 
tendants or guests. Everyone laughs 
when you tell them Americans think 
them brave and regale you with humor- 
ous stories about putting out incendiaries 
and staggering up ladders with sand 
buckets or, ignoring entirely the cataclys- 
mic things that have happened to them, 
ask you for news of Britishers in Holly- 
wood. To me, this spirit is fantastic. Or 
perhaps sublime would be a better word! 

AUGUST 26, 1941 . . . Down to Windy 
Ridge (Miss Neagle's home in the 
village of Shenley, near Loyidon) . All are 
fine and quite amazing. They had ob- 
viously pooled their food coupons so I 
should have a grand dinner and this with 
rations cut to two ounces of meat a week 
per person, two oranges a month for 
children only, three eggs a month, no 
fruit at all, no green vegetables except 
Brussels sprouts! Such unselfishness 
made me weep a little. A neighbor came 
in and brought me a present — two enor- 
mous onions! This was the most valuable 
gift she could contrive, onions being 
well-nigh priceless here! 

August 27, 1941 . . . Went to Caxton 
Hall (the city hall in Westminster) for 
gas mask, going up to town by bus. 

My own mask fitted, I looked at myself 
in the mirror. Such a grotesque, Mar- 
tian spectacle I presented! I hadn't 
thought the attendant recognized me, but 
suddenly he remarked, "You don't look 
like Queen Victoria now!" 

August 30, 1941 ... In London again. 
To Bank of America this morning. Ter- 
ribly shocked to see the area around 
St. Paul's. Whole squares are nothing 
but ruins. H. W. (Herbert Wilcox, pro- 
ducer of Anna's pictures) says it is as 
bad as Ypres in the first World War. 
It is perfectly true that all churches are 
burned out or destroyed. Exteriors look 
normal in some cases but there is noth- 
ing left inside. The beautiful spire of the 
cathedral in Portland Place is cut clean 
off at the top, a pitiful, terrible sight, 
yet what was left seemed to rise to 
the sky in a sublime challenge to the 
desecrater. Standing there before the 
edifice, I thought of the record of the 
Christian faith through 2,000 years and I 
knew that this church and what it sym- 
bolizes will be here when Hitler and all 
like him are dust and forgotten. 

The manager of the bank was sitting 
in his office a few yards away from a 
demolition bomb which had failed to 
explode. There were no panes in the 
windows but a dignified commissaire was 
on duty at each door! 

September 5, 1941 . . . I've been sent a 
series of magazines with speeches of Amy 
Johnson (later Amy Johnson Mollison: 

72 



the great British woman flyer whom 
Anna portrays in "They Flew Alone") 
and articles about her. Seems she was 
the first woman engineer as well as an 
outstanding flyer. Met Harold Balfour, 
Undersecretary of State for Air, who I 
am sure will be of great help when we 
get under way with the picture. 

September 9, 1941 . . . (Windy Ridge 
again.) Taxi-ing down from town (no 
private cars are allowed in use), was 
conscious of more preparations. Many 
soldiers about and on guard. Maybe the 
invasion really is imminent. 

SEPTEMBER 12, 1941 . . . Spent morn- 
ing in Daily Mail library reading 
about Amy Johnson. What a fine woman 
Amy was! Seems she was the first wo- 
man engineer as well as an outstanding 
flyer. Beautiful letter from Mrs. John- 
son (Amy's mother) asking me to visit 
them and saying how glad they are that 
I am the one to portray their "dear 
daughter." Heard my first alert. So as- 
tonished I could not believe it! A most 
peculiar sensation! 

September 17, 1941 . . . An alert and a 

I I I I I 



FLYNN IS FOUND OUT! 

His good points 
his bad points 
oil discovered in this pene- 
trating analysis of Errol Flynn 

A story that will cause 
talk! 

Watch for it 
in 

PHOTOPLAY-MOVIE MIRROR 
I I I I I 



few planes and gunfire. Like everyone 
else, my greatest impulse was to watch 
what might happen, not to hide. Really 
couldn't see much, though. 

September 19, 1941 . . . Rehearsed for 
a soldier's benefit show at Streatham. 
Eerie feeling driving down in blackout. 
No excitement or people outside. Then, 
in the hall, about 3,000 dancing in the 
brilliant lights. Many girls as well as 
boys in uniform. 

September 20, 1941 . . . Portsmouth for 
opening of fete in aid of Tank Week. 
Lunched at the Army Mess — first woman 
ever allowed across the threshold! Forty 
thousand people turned out for a great 
show. Portsmouth is devastated and I 
heard many terrible tales of tragedy. 
It is interesting and yet pathetic to see 
women shopping amidst wreckage. After 
all, raids happen here almost every day. 
Shopkeepers have put up signs amidst 
ruins, "Removed to " 

September 21, 1941 . . . This has been 
the saddest day of my life. I visited one 
of our hospitals for plastic surgery. Only 
patients so disfigured they have been 
given up elsewhere as hopeless are taken 
there. Never have I seen any sight so 
heartbreaking. And yet these patients 



were so cheerful, with their poor twisted 
and burned faces and expressionless eyes. 
Some were bomb victims, children among 
them. Others were R.A.F. boys of va- 
rious nationalities, some of those glorious 
"few" to whom "so many owe so much " 
But who will never fly again. . . . 

I was one of a troupe of entertamers 
sent to bring a bit of diversion to their 
sad existence. I sang "Alice Blue Gown" 
and "Tea For Two." I don't know how I 
ever kept down the lump in my throat, 
yet I knew that this was the least I could 
do — to honor their courage with the best 
that I had to give. 

One of the Royal Air Force boys was 
a famous ace who flew at Dunkirk and 
was shot down, and terribly burned. He 
had been in this hospital ever since and 
must stay there, he told us, for another 
three years. The doctor in charge is 
quite literally making him a new face. 
Already there have been several opera- 
tions and many more are to come. Yet 
he was the most cheerful of all! 

"I shall be quite all right in the end,'' 
he told me. "Of course, the face I shall 
have eventually won't be the one I had 
before, but that is all right." 

Five years of torture and suffering. 
A face not his own . . . And we complain 
about such things as a monotonous diet 
and high taxes! 

SEPTEMBER 24, 1941 . . . Spent the day 
with Mr. and Mrs. Johnson in Hull 
They were magnificent. Mrs. Johnsor 
wants to lend me Amy's clothes and the 
ring she wore on all of her flights — bu: 
the last one. As I left, she kissed me and 
said, "My dear, you will make a lovely 
Amy." 

October 2, 1941 . . . Broadcast a short- 
wave program, a tribute to Edith Cavell. 
Down to Denham Studios later and saw- 
Richard Greene. C'They Flew Alone" 
was filmed at Denham Studios, twenty 
miles out of London, headquarters of 
RKO-Radio British Prodnctions, Ltd.) 
He is making a picture there, on leave 
from the Army. He is looking so fit 
and seemed so contented with his lot, 
different though it may be from the 
career he was enjoying in HoDywood. 
Richard's leave to make a picture is in 
accordance with a custom well-estab- 
lished by now with regard to British 
actors of combat Army age. They fight 
for a while; then, because they are able 
to give pleasure to thousands, they are 
called to appear in a picture. Laurence 
Olivier, Rex Harrison, Robert Newton. 
Leslie Fenton, David Niven — many others 
have done the same thing. I heard re- 
cently, though, that Larry Olivier has 
refused to leave the service any more; 
that he prefers to fight without interrup- 
tion for the "duration." 

October 5, 1941 . . . Blackpool. Re- 
hearsal this morning for an entertain- 
ment some of us are to give for the 
benefit of the Royal Air Force stationed 
here, then presented the show this after- 
noon. Vivien Leigh and Laurence Olivier 
among the entertainers. Vivien looked sa 
lovely, though she insisted her frock was 
quite old and, of course, her stockincs 
were cotton. She is a magnificent hit in 
the provinces in the play, "The Doctor s 
Dilemma." and later will open in London. 
I did "Alice Blue Gown" again and the 
last scene from "Victoria." Our show 
raised 50.000 pounds, I am sure an al'.- 
time record! 

October 22. 1941 . . . Started work on 
"They Flew Alone" today. 

November 1, 1941 . . . After working 
went up to town (London) for a run- 

PHOTOPLAY combined with movie miwio« 




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hands are busy with war-work and extra 
tasks of all kinds, let Dura-Gloss keep your 
nails bright and shining. It'll stay right 
on the job — no polish wears longer (there's 
a special ingredient* in Dura-Gloss to make 
it stay on). So keep your nails pretty 
-protect them. You'll find lovely colors of 
Dura-Gloss nail polish at 10^ counters-, each 
at the pleasant price of lOf Get 'em today! 

*7he special ingredient is Chrystallyne, 
a pure and perfect resin. 




73 



Anna Neagle and Rob- 
ert Newfon as Amy and 
Jim Mollison in "They 
Flew Alone," the pic- 
ture that took Miss 
Neagle to England, 
thereby giving Photo- 
play-Movie Mirror 
the stirring story 
presented on page 44 




through of tomorrow's broadcast (a BBC 
program). Biggest raid I've experienced 
— and it was nothing. Apparently a few 
bombs were dropped and six planes 
brought down. Robert Newton, straight 
from Russia where he has been in his 
minesweeper (he is an able-bodied sea- 
man) came to see us. We hope he'll play 
Jim Mollison. 

To return to the raid ... I must con- 
fess when it came I rather hesitated 
during the rehearsal expecting, I guess, 
everyone to run for a bomb shelter. But 
since no one paid the least bit of atten- 
tion to it, I tried to follow suit . . . blush- 
ing a bit at my original qualms. 

November 5, 1941 . . . Newton is to play 
Mollison and I am so glad! Saw David 
Niven at the studios today. He is a 
major in the Commandos, and was so 
handsome and cheerful! An ideal Com- 
mando, I think. Told us such amusing 
stories about himself and his men — al- 
ways the laugh on himself. He was wait- 
ing on the cliffs of Dover to go over to 
France the day France fell. He is work- 
ing in a picture concerning the Spitfire 
{England's famous fighter plane). 

NOVEMBER 11, 1941 . . . Work as 
usual, but I couldn't keep from 
thinking that on this day, twenty-three 
years ago, the world thought it was 
forever "safe for democracy." But I 
know, too, that everyone in Britain who 
has worked, fought and suffered in this, 
another war for the same ideal, believes 
that this time, when the guns cease fir- 
ing and the bombs stop dropping, this 
goal will have been achieved. How won- 
derful are faith and hope! 

DECEMBER 7, 1941. . . . Pearl Harbor 
bombed by the Japanese! What enor- 
mous new vistas thus open up! The 
United States are now at war and will 
fight side by side with us. I thank God, 
that since this had to be, the atmosphere 
was clarified and that they have not been 
drawn into the fray because of Europe, 
but for their own protection. 

December 11, 1941 . . . Hitler and some 
of his satellites also have declared war 
on the United States! Somehow, I mar- 
veled at this news. They are a great 
people, my American friends, and I 
wonder if Hitler and Hirohito can real- 
ize what they have done in arousing 
them. As one of the grips at the studio 
remarked, "Those Germans and Japs will 

74 



wish they had never been born!" And 
so, this becomes a "total war," indeed. 

December 25, 1941 . . . Spent the day 
at home, quietly. This is scarcely a year 
for celebrating. Also, of course, there 
isn't much with which to celebrate. 

January 3, 1942 . . . Finished "They 
Flew Alone" today and was overwhelm- 
ingly glad and relieved. I hope it is 
worthy of the girl whose courage and 
vision it describes. Received lovely 
Christmas parcel containing cheese, lem- 
ons and dried apricots. Made latter into 
jam, unknown here these days. 

January 28, 1942 . . . We had down a 
couple of A.T.S. and W.A.A.F. girls to 
make an added scene for the picture. 
They were magnificent — so pretty, and 
gay and confident. Seeing them and talk- 
ing to them, learning how capable they 
are in their jobs, I wondered how British 
women will ever go back to the restricted 
lives they lived before the war. 

February 1, 1942 . . . Well, I saw the 
completed film of "They Flew Alone" 
today. To me, it seemed good. Yet per- 
haps I am "prejudiced!" Cinema-goers 
will have to l>e the final judges. . . . Also, 
Mr. and Mrs. Johnson must see and 
approve it. That will be a dramatic and 
a portentous hour, since, if they do not 
like it, H.W. has given his word not to 
release it. 

MARCH 18, 1942 . . . One of the most 
moving incidents of my life took 
place today, when H.W. and I showed 
"They Flew Alone" to Mr. and Mrs. 
Johnson. The four of us saw it together. 
No others were present. When it was 
over and the lights flashed on in the little 
projection room, no one spoke. I was 
trembling, desperately anxious to know 
their verdict. 

Finally, Mr. Johnson turned to his wife. 
"Perhaps we had better return to our 
hotel," he said. So we all got into a taxi 
and made the brief drive almost in si- 
lence. Once at our destination, Mr. John- 
son said, "May I speak privately to my 
wife?" 

We agreed, of course, but the following 
interval was an age long. Apparently, 
they hadn't liked the picture! At last, 
however, they returned and Mr. Johnson 
came directly to me and shook my hand. 

"Thank you for giving us Amy back 
again," he said. . . . Then Mrs. Johnson 
put her arms around me and Mr. John- 
son and Mr. Wilcox shook hands and I 



guess we all cried a bit. And now, I 
know that I have made two friends 
for life. . . . 

March 21, 1942 ... A thrilling expe- 
rience today. As H.W. and I were leav- 
ing the studio after conference, at a 
near-by crossroads we came upon a 
battalion of soldiers. They were lost, 
apparently, and small wonder, since there 
are now no signposts or road directions 
throughout all England — this because of 
the possible invasion. A group of officers 
was worriedly perusing a map and the 
men were drawn up in the background, 
looking worried, too. 

Our cab driver stopped our car and we 
gave them directions as best we could. 
I don't suppose they knew who we were 
and that doesn't matter. We knew who 
they were, and I wanted to salute them; 
to say I was proud and grateful to have 
them here! 

You see, they were American soldiers! 

March 31,1942 .. . Trade show of "They 
Flew Alone." It went over terrifically. 
Jacqueline Cochran (who is with the 
Women's Air Transport Auxiliary Ser- 
vice in Britain) sat next to me and found 
it the first aviation film about which she 
had no criticism to offer. 

April 8, 1942 . . . Boarded ship today 
for America. This is a Polish troopship 
headed for — we don't know what Ajner- 
ican or Canadian port. 

April 9, 1942 .. . Sailed tonight after 
si>ending all day on board. Ship com- 
pletely darkened, a ghost ship literzdly 
feeling its way through the blackness. 
I cannot tell how many are in our con- 
voy, but one ship, I am told, is carrying 
1,000 prisoners of war to Canada. 

April 10, 1942 . . . Lifeboat drill today 
in the bitter cold — too realistic for com- 
fort. We must wear our preservers con- 
tinuously and must not undress at night. 
Blackout every night, of course, and the 
sea looks pretty grim! . . . Oh, my! Just 
as I wrote, came a dull, ominous roar. I 
rushed into the passageway ... to learn 
depth charges had been droppedl Wtiich 
must mean submarine is near. There 
is a strange fascination at contemplation 
of the fact that death might come at any 
moment. I find myself inclined to view 
my own reactions with a curious detach- 
ment. To wonder if I shall scream and 
prove cowardly if catastrophe does come 
I hope I shall not. I must confess, though, 
that death in the freezing waters of the 
North Atlantic seems much more horrible 
than decently in bed. . . . 

APR7L 13, 1942 ... A ship's concert 
for the officers today, in which I took 
part. A most appreciative audience. As 
the days go by, I find myself becoming | 
accustomed to the presence of danger. 

April 18, 1942 . . . Arrived in (cen- 
sored). I can scarcely believe this voyage 
is over and we are safely here! Yet now. 
as I look back, it has been something I 
wouldn't have missed for a great deal— 
this, if for no other reason than l)e- 
cause it has made me understand and 
appreciate the simple courage of those 
United Nations seamen to whom voyages 
like ours — and worse — are daily fare. . . 

April 19, 1942 . . . Left Canada by tra'.n 
tonight for New York, dining shortly 
after we pulled out. The food is revoltirg 
— there is so much! 

And so ends my English diary. I 
wish it contained more of my impressior.s 
and adventures. As it is. however, it w '.1 
serve always to remind me of the stran - 
est and yet the most satisfactory per: 
in my life to date. I suppose it is o 
of "silver linings" to the cloud of w.>r, 
that it strips life of superficialities and 
teaches appreciation of fundamentals. 
The End. 



PHOTOPL.w cojiibiiicd with movie MHWOt 



Girls witj^sweet fragrant skin win out. 

RitaHayworth 




"I always use my complexion soap — gentle, 
white Lux Toilet Soap, for my daily beauty 
bath, too," says this charming star. "A de- 
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find Lux Toilet Soap's creamy ACTIVE lather 
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75 



How to Get the Job You Want 



(Contimted jrovi page 41) work, with 
precision tools, power machines, in any of 
the jobs which a complete extrovert 
would find monotonous. And remember, 
you can make excellent salaries in this 
work now! Dressmaking, power machine 
sewing and cooking might be fields for 
you, too. 

If you are the "mental" type, follow 
your aptitudes or interests, but remember 
that you should work at something in 
which you are largely independent of 
others. (We don't mean that you are 
unco-operative. Rather, that you work 
best by yourself, on your own particular 
tasks.) What about filing, bookkeeping, 
map reading and topography; business 
machine work on calculators, comptom- 
eters, billing and duplicating machines, 
or typing; PBX operator; research work? 

B. 

Are you trying to be a nurse, social 
service worker, actress, confidential secre- 
tary, saleswoman or teacher? If you are, 
you have not chosen the vocation for 
which you are best suited. You could do 
better at work in which you are indepen- 
dent of other people, not dealing entirely 
with the public at large, but you do get 
along more easily with people than those 
in Group A. 

There are many vocations in which you 
may excel. First, decide whether your 
skill is manual or mental, and what your 
particular talents are. You can do any of 
the jobs mentioned above in "A." Or 
are you interested in commercial art, mu- 
sic, photography, library work, the exact 
sciences, stenography, home economics, 
accounting? Or would you like to be a 
beautician, waitress or cashier? 

You can do very well indeed in your 
work, but remember that you'll do your 
best in something not dependent on 
others. Develop your talents and, if you 
are at all mechanical and have physical 
endurance, you'd be a whiz in defense 
production work! 

c. 

People like you and they should! Your 
personality is well-balanced and you get 
along well with other people. You are 
generally in harmony with your sur- 
roundings and you can succeed in any 
work for which you have a special apti- 
tude or interest, but be honest with your- 
self and select it carefully. Don't just 
imagine you'd like some particular field. 
Analyze your particular capabilities. 

Your personality permits your choosing 
a job in which you work with other peo- 
ple, or one in which you can work inde- 
pendently. It'.s up to you to decide. 

You might prefer doing the work men- 
tioned in "A" or "B" above, but you can 
also be successful as a nurse, saleswoman, 
private secretary, receptionist or hostess, 
teacher, physical education instructor, 
governess. You might prefer banking, 
languages, costume design. 

Don't overlook any manual, mathemat- 
ical or scientific skill you may have. War 
industries need people like you who can 
work with others and also be efficient! 

D. 

Are you a filing clerk, business machine 
operator, typist? If you are, you could 
choose a more suitable profession! Repe- 
titious, routine work probably irks you 
and you waste your talents in it. You get 
along so well with people that you should 
definitely work at something which af- 
fords contact with other people. You 
demand variety and contact with the 
public affords that. 



You have wide interests, are friendly 
and resourceful, so that you can do any 
of the jobs mentioned in "A," "B" or 
"C" if you really want to. On the other 
hand, you would be happier in work 
wiiich is not monotonous. 

Depending on your special aptitudes, 
you could be an excellent saleswoman, 
nurse, airplane stewardess, receptionist, 
hostess or personal secretary. Or, you 
might do well in social service work, 
newspaper reporting, advertising, all 
types of office work, teaching, law, per- 
sonnel work, commercial photography, 
modeling, public speaking, radio — well, 
mostly anything. If you are manually 
dextrous or have mechanical ability, you 
should certainly do well in a war produc- 
tion plant; you might eventually direct 
the work of others because of your 




Margie Hart, who steps out glamor- 
ously for a first-time Hollywood 
appearance in "Lure Of The Islands" 

ability to get along with people. 

You, in this group, might be actresses, 
if you have the talent. Unlesa you are in 
this group, you'd better give up the idea, 
because an actress must have this type 
of personality. (Don't point an accusing 
finger and say "What about Garbo?" She 
is one in a million, and that's another 
story.) An actress should be intensely 
interested in people, able to understand 
them and the possessor of a personality 
which appeals to others. She must be 
able to get along with writers, directors, 
other actors, stagehands, prop men, 
make-up artists, interviewers, camera- 
men and the public. It isn't so easy! 

A word of caution to you in group "D." 
Your type is often so interested in so 
many things that it is difficult for you to 
settle down to one; you keep flitting from 
one thing to another because of your in- 



tense love of change. So before you de- 
cide on your career (and yours can be a 
career — not just a job) think well! Study 
your special talents, choose the work in 
which you can be most v^ejul and then 
stick to it! 

NOW for Frances Dee's scoring on our 
test and what it indicates. First, let 
us repeat she took the test cold, with no 
indication of what it was for, what the 
results would prove or what our scoring 
system was. Her score was 96! 

Frances was selected for the lead in 
"Name, Age And Occupation" after many 
unknowns were tested for the role and 
just as many well-known Hollywood 
actresses had been considered. Lorentz 
decided that she, in real life the wife of 
Joel McCrea and mother of two young 
sons, was ideal to portray the girl in the 
picture. 

Her answers to our test prove that she 
is just as ideal, emotionally, as an actress. 
In addition to her ability, her personality 
proves that acting is the perfect profes- 
sion for her. 

Her test answers, on many of which she 
gave us interesting comment, prove that 
Frances is friendly, considerate of other 
people, well-balanced in her interests. 
She is charming and gracious, but seri- 
ous about her work; keenly interested in 
what's going on in the world, she reads 
widely, but also enjoys fim. She is, in the 
main, an extrovert, but confesses she is 
not the Life-of-the-Party type. 

In Quiz I her only "no" answer was 
on question 18. She said, "I'm not sufiB- 
ciently impulsive to make decisions on 
the spur of the moment." 

Frances says she keeps her feelings to 
herself when things go wrong and adds 
wisely, "Troubles only bore other people." 
She tries to extend kindness to new 
actors, remembering how much it meant 
to her when she was beginning her career. 
She will accept responsibilities gladly and 
follow through to the limit of her cap- 
abilities. She loves picnics and parties, 
but prefers smaller parties to the "huge" 
variety sometimes given in Hollywood. 

SHE keeps her own promises, so justifi- 
ably is annoyed if other people fail to 
keep theirs. She is active in First Aid 
classes and other Red Cross work. She 
listens to all well-meant advice and does 
her best to follow any she considers 
sound. She likes to entertain in her own 
home, meets people easily and has no 
trouble remembering names because she 
has schooled herself on that impwrtcint 
point. She admits she has some moody 
moments but "can't remember having any 
of serious proportions" and has never 
suffered from the delusion of a "con- 
spiracy of unkindness." 

Miss Dee's only "yes" answer in Quiz 
II was on question 19, in which she said, 
"I'm not the life of the party." But she 
is a gracious hostess and her own parties 
never bog down. She said emphatically 
on question 18, "Discourtesy is never 
justifiable whatever the provocation," 
on which the psychologists agree with 
her; and on number 13 she amended her 
"no" by saying, "Of course I lose my 
temper sometimes, but not quickly and 
frequently," which was what we asked. 

No single question in our test is all- 
important, but the answers to the sum 
total indicate emotional types and per- 
sonality. And remember — it is just an 
indication. 

You have the stuff; choose your work 
wisely, do your best and you can't help 
but be a success! 

The End 



76 



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Bombardier's Bride 



{Continued jrom page 34) assistant movie 
director, and the widespread publicity 
given her divorce had left their mark. So 
also had her long and much-discussed 
engagement to John Barry, young Victor- 
ville editor. This, too, had ended in a 
break-up. No wonder she shied away 
from speaking of the new and biggest ro- 
mance of her life. Instead, she hid behind 
generalities. 

"It isn't that I'm bitter or disillusio.ned 
about love," she said earnestly. "I want 
love and a happy marriage more than 
anything else in the world. Some girls 
say they love their careers. I say I like 
mine. I've worked hard for it, fought to 
get where I am. But with me acting is 
only a business. A career would mean 
little to me without love. Real love. 

"But it's easy to be mistaken about love. 
Only when that big love comes along and 
hits you a tremendous wallop over the 
head do you realize what a counterfeit 
the other so-called love really was. 

"And when that big love does come 
along, do the sensible thing. Get mar- 
ried! You're missing the whole mean- 
mg of life if you don't. . . ." 

Pat's earnest face suddenly broke mto 
a grin. "And I said I wasn't going to 
talk about love! We can't get away from 
it, can we?" 

At this moment a call came through. 
It was Lieutenant Joe Howard, and 
how could he storm the Paramount gates 



to see his lady fair? Instantly Pat's care- 
fully constructed defenses were thrown 
to the winds. She was just a girl, terribly 
happy, terribly thrilled over the unex- 
pected arrival of her beau. 

"Joe and I have fun together," she 
chattered. "He's young. Only a couple 
of years older than I am. He's Irish, too 
He comes from a large family like I do 
He has six brothers and sisters. Like 
me, he has a passion for good music. 
Loves to listen to symphony records by 
the hour. He doesn't care a hoot about 
night clubs. We both love the outdoors. 

"Like all other young men, Joe changed 
his plans when war threatened. He'd had 
two years in the Massachusetts Institute 
of Technology when he joined the Army." 

There was a knock at the door. Lieu- 
tenant Howard came into the room. 

In spite of his uniform, the lieutenant 
looked young and boyish. He stood, mili- 
tary fashion, with his cap on his bent 
arm, held close to his side. His curly 
hair and desert tan were almost as 
brown as his leather belt. 

Their casual "hello" belied the quick 
warmth in their glances. 

It was obvious what Pat had meant 
when she said, "Joe is quiet and re- 
served." As we walked over to the set, 
he paid little attention to the scene being 
enacted before him. Instead of watching 
the dance hall girls, miners and gamblers, 
closing in on the fight between Greorge 



Brent and Bruce Cabot, he kept his eyes 

on Pat. 

For Joe had come on something far 
more important than watching a fight 
scene. He had found a honeymoon cottage 
and had driven in to tell Pat that they 
would not have to rent a bungalow at 
Yucca Loma. Much as both of them loved 
this desert resort where they first met 
and where Pat for the past three years 
had spent her vacations, it was natural 
that they wanted a house to themselves. 

With the completion of "Silver Queen'' 
Pat hurried home to the comfortably 
rambling Lane house to pack. 'I don't 
want any fuss made over my marriage," 
she told her mother when Mrs. Lane re- 
minded her of her promise that if she 
ever married again the ceremony would 
be performed there. "I'm going to Ne- 
vada only because in that state there is 
no three-day wait after the license is 
issued. I can't go through all the publicity 
and interviews that an actress is faced 
with during that time." 

|-| ASTILY she packed the bright silk 
' ' shirts, khaki skirts, high boots and 
sombreros that she always wore on the 
desert; the slacks, gay little pinafores and 
few afternoon dresses which comprised 
her simple wardrobe. Her only purchases 
were the powder blue dress and hat in 
which she was married. 

Then followed her books, radio and a 
few cherished possessions. "I'm not even 
taking Muffett," she said to her mother. 
"Joe and I want a dog, instead of a cat 
on the desert." 

As she gave her mother a farewell 
embrace, she said, "I have no idea when 
I'll be coming back to Hollywood. We 
hope that Joe's work as bombardier in- 
structor will keep him in California. But 
if he's ordered to another frying field, I'll 
go with him." 

This from the girl who a few short 
months ago so stoutly maintained that 
she'd never marry a man who was going 
oft to war! "Separations are no good," 
she had said at that time. "With the 
husband away in the Army or Navy, 
esi>ecially if he weren't in pictures, the 
marriage wouldn't have a chance. . ." 

But perhaps the little Lane is even 
better than her word. With Joe's special 
work, it is doubtful that he wiU be 
ordered into a combat zone. But if her 
man is sent away to war, she proposes 
to go with him — at least as far as the 
authorities will permit. And if picture 
commitments call her back to Hollywood, 
she'll leave only long enough to fulfill 
them, and then return to him. 

Meantime Joe and his bride are keeping 
house in seventh heaven on the edge of 
the desert. While he is over at the flying 
field, Pat is puttering around the house, 
washing her hair and drying it in the sun. 
driving into the village to do her market- 
ing. The long evenings are best of all 
Walking or driving in the desert moon- 
light. Planning for the time when the 
war will be over. 

Theirs is the luxury of a green lawn in 
front of their little home, a flower garden 
in back and all around the golden desert 
melting into the blue haze of the distant 
mountains. There are hardwood floors 
spread with bright Indian rugs, com- 
fortable Monterey furniture, a gay little 
kitchen where, wrote Pat to her mother, 
"Joe burned the spaghetti and I burned 
the toast. So we figure we are over our 
burning stage." 

But there's another stage they wont 
be over for a long time — the stage of each 
other. Thf End 




The picture you see at the 
left is the only one taken of 
Pat Lane's new husband, Lt. 
Joe Howard. Photoplay-Movie 
Mirror's cameraman, Hymie 
Fink, invaded their honeymoon 
house in the middle of the 
desert, asked for a picture, was 
shyly turned down by Lt. 
Howard. After an hour's fast 
talking, the bridegroom broke 
down and consented to pose — 
providing Hymie stand across 
the road and he be allowed to 
wear his cap and dark glasses! 
So here's the exclusive result 
taken on the steps of the cot- 
tage Pat and Howard rented 
for their honeymoon, a cute 
little house surrounded by 
nothing but desert. 



Pat's trousseau: 
khaki breeches, 
silk shirts, cow- 
boy boots 




Their home: Bright chintzes, In- 
dian rugs, wicker furniture — 
and Photoplay-Movie Mirror! 



78 



PHOTOPLAY COmbnwri il'ffh MOVaE MIRBOB 



Speak for Yourself 

(Continued jrom page 6) Jimmy Cagney's 
. . click of the heels of the King's Guards. 

Madeleine Carroll's ... a kitten play- 
ing on a white velvet rug. 

Mickey Rooney's ... a quick zoom off 
a springboard into the ol' swimmin' hole. 

Mabel Allen Stoner, 
Muncie, Ind. 

$1.00 PRIZE 
"Sit Up And Take Notice" 



INGS ROW" was an excellent mo- 
tion picture. Strangely though, many 
people who saw it were keenly disap- 
pointed. I believe the reason for this is 
simple and the big Hollywood producers 
who give us this type of pictures should 
sit up and take notice. 

Pictures with such powerful themes 
as "Kings Row" are just too morose and 
depressing to the average movie-goer 
of the present time. Beset with their 
own personal sorrow in a world gone 
mad with war and bloodshed they have 
no place in their troubled hearts for 
more scenes of misery and heartbreak. 

We go to the movies primarily for 
entertainment. Most of us want to laugh 
and forget our woes for a little while. 
Can't the producers give us more of this 
light comedy type of film and leave out 
the more sombre sort like "Kings Row" 
.until the war is won? 

Stanley Monroe, 
Weatherford, Okla. 

$1.00 PRIZE 
Well, Hollywood? 

A NEWCOMER has loomed invitingly 
" from the distant horizon; a silent and 
ober but engaging personality by the 
lame of Richard Whorf. This big, 
trong, rugged combination of Weiss- 
nuller and Mature (with a bit of the 
Juke Ellington genius at the piano 
hrown in) literally captivated the 
eminine hearts with his Jigger in "Blues 
a The Night." 

According to the files he's a married 
lan with three children — but yet Holly- 
'ood and his fans will want him to be 
aeir puppet. What say we leave this 
uy alone, huh? None of the fake ro- 
lance business and phony stories. 

But now that he's made his debut, don't 
irget him, Hollywood. Give him a few 
.ore roles to sink his teeth into and I'll 
;t you'll be back for more. But above 

1, let him live his own life as he sees 

Dolores Passero, 
Rochester, N. Y. 

$1.00 PRIZE 
Lord Cregar 

SRY so often we fans are treated to 
a brand-new personality in a grand 
[Irformance. This time the "something- 
WW-has-been-added" comes in the 
ormous form of Laird Cregar, who 
"llled a "steal" play in "Rings On Her 
igers." 

This combination giant, Frank Mor- 
1 and Charles Laughton rolled into 
3 is certainly headed for bigger things, 
fow about a starring role tor the big 
ow? With the right picture and cast 
: action we are sure that Laird will not 
• appoint his many new box-office 
ind-in-liners." 

■■ours for a greater screen cast! 

Ralph J. Satterlee, 
New York, N. Y. 

S EMBER. 1942 



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It's a sight you won't forget. To watch 
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work clothes. To see how skillful it is with delicate 
things. To compare Fels-Naptha's washing 
speed with ordinary laundry soaps. 

P. S. — Make your arrangements 
through your grocer. 
Better ask him about 
Fels-Naptha Soap now. 





79 



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Romance for the Lonely 



(Continued from page 33) once spoke of 
this impossible situation as it exists for 
stars in Hollywood. The loneliness of 
success — not all experience it, but those 
who do know the deep pain of it. Friends 
say Bette, realizing the depth of the love 
she and Arthur Farnsworth felt for each 
other and knowing how often a man out- 
side the profession will hesitate to declare 
his love to a top-notch star, made the 
path easy for Arthur to ask her to marry 
him. So far it's been a grand marriage, 
but, of course, Bette and Arthur are 
nearer an age. 

At the moment, Hollywood is actually 
holding its breath over the outcome of 
the Greer Garson-Richard Ney romance. 
Young Ney has never stopped asking 
Greer to marry him from the day he 
first met her. In fact, there are those 
who say they are already married. 

"Wouldn't you think," someone re- 
marked to me recently, "a woman as 
beautiful and charming and fascinating as 
Greer Garson would have innumerable 
suitors swooning at her feet?" 

What suitors? To begin with, how many 
handsome eligibles in their thirties do 
you know with the charm, bearing, and 
position befitting that of a famous star? 
So where and to whom will such a star 
as Greer Garson turn for the love every 
woman needs, if not to the man at hand 
who loves her? 

nOSALIND RUSSELL waited quite a 
few years for that mythical husband 
we had all visioned for her. Tall, hand- 
some, late thirty-ish, successful, even 
famous in his profession. And where was 
he? The man Rosalind married was the 
agent she'd had for a long time, a younger 
man successfully started on a promising 
career. And why? Because Rosalind Rus- 
sell had become so famous a star the 
ordinary businessman could no more 
move in her sphere of life than fly. But 
Fred Brisson, who worked within the 
aura of movies, understood the problems 
of a great star and was ready and wait- 
ing. 

The exciting friendship of Ann Sothern 
and Robert Sterling is another case in 
point. The truth is, Ann is older. That 
is, if you go by years. But Ann's heart 
is young. There isn't a better sport any- 
where than Ann, who loves to fish, to 
play games, to laugh with friends. Cer- 
tainly marriage with Roger Pryor, a 
man her own age, proved a failure. 
A marriage with young Robert Sterling, 
who lives and works in, and jjossesses 
the understanding of, the profession, 
might well prove more successful. 

No more beautiful woman exists than 
Madeleine Carroll and yet the man she 
married was tousled-haired Stirling Hay- 
den, years her junior. 

Despite all the handsome and success- 
ful men in the world, it took a young 
Viking to climb the starry pedestal, de- 
clare his love and have it welcomed 
eagerly. 

Here's another instance with a differ- 
ent ending. She, our Miss X, was mar- 
ried and a star when she met him, a 
man younger, charming, witty, ambitious. 
He gave her all the fire and color that 
her conventional home lacked. Because 
their interests were mutual, she let her- 
self fall madly in love. 

Unable to endure it any longer, she 
went to her liusband and told him she 
wanted a divorce. He was shocked, des- 
perately hurt but game. Promptly he 
moved out of the house to give her a 
free hand with the divorce. Blindly she 
went ahead with her plans. But the 



80 



beautiful home which had been the cen 
ter for artistic gatherings became almost 
deserted. Friends drifted away. So did 
her career. 

She was too enamored to care much. 
Besides, the star of the man on whom 
she had pinned her heart was climbing 
fast; he was being hailed on all sides 
as a coming sensation. She was counting 
on him to carry her along. 

And then gradually it happened. The 
aura that had surrounded her, all the 
magic that enchants and sets apart, 
wrapped itself about him, shutting her 
out — a woman no longer touched by the 
allure of stardom. 

It's over now. She's alone, looking and 
feeling a woman whose life is without 
meaning. 

Sometimes stars would rather endure 
the loneliness of the moment than risk 
disaster later on. Take Joan Crawford, 
for example, for whose affections Glenn 
Ford campaigned so ardently. 

Joan met Glenn when a writer friend 
brought him to her house. Ford sat there 
in the richly appointed living room car 
ried away by the magnetism of this 
woman who, to him, had always been a 
vision of glamour that existed only on 
a silver screen. On her side, Joan was 
charmed by his slow ingratiating voice 
the almost naive admiration in the eyes 
of the Santa Monica lad who, despite the 
fact that he was brought up just a stone's 
throw from Hollywood, was as untouched 
by it as if he had been born and bred 
at River's End. 

On the following Sunday it was Glenn 
who was invited to one of her famed 
Sunday soirees. It was Glenn who drove 
her down to the beach where they 
watched the sea, or carried her off to a 
concert or a tavern in the hiUs. 

THEY had much in common. Both were 
deeply interested in the artisan side of 
their profession. In the private projec- 
tion room of Joan's home three of them— 
Glenn and Joan and Chi'istina, her three 
year-old adopted daughter who adore 
Glenn — would watch while Ford's pic- 
tures were run off. Afterw-ards Joan 
would give him the benefit of her shrewd 
constructive criticism. 

Then they would run off Joan's pic- 
tures. No comment from Glenn. \vh 
considered himself not qualified to speak. 
But Christina — that beguiling little imp 
— though personally flanked by Holly- 
wood's top talent, would call loud and 
unabashed for her favorite movie staj- 
Mickey Mouse! 

Despite these gay times, Joan, who is a 
woman of rare perception, looked the 
situation squarely in the face and real- 
ized that the rocks in the waters ahead 
would be hard and sharp. Notwithstand- 
ing his fine intelligence and rare fresh- 
ness Ford could not as yet match the 
maturity, either emotional or mental, of a 
woman of her experience. Then why go 
on until one of them was hurt — badly? 
Quietly, gently, she found a way of side- 
stepping his next eager invitation. Pres- 
ently he was not being included on hot 
Sunday night lists. She was grooming 
him to walk without her. It would be .<o 
much easier later. 

Will Joan Crawford, the fans" idea of 
what a movie star should really be like, 
have to go empty-hearted, as far as a 
man's lasting love is concerned? 

Where is the butcher, the baker, tlie 
candlestick maker for these lonely bai 
terrifically successful Hollywood women 
way up there on their pedestals? 
The End 

PHOTOPLAY combined U'ifh movie mirkob 



arui 



Little Miss Dynamite 

(Continued jrom page 53) She must 
thank him for the panda. She must 
reassure herself that he loved her; by 
what he said and the way he said it. 

The next morning Paramount called 
early. She had the part. She was to 
start work immediately. 

That night Veronica and Johnny went 
^gain to the little hofbrau house and 
danced to the Beer Barrel Polka and 
drove home over hills soft in the star- 
light. "I only hope, Baby," Johnny said, 
'that this won't take you from me." 

She made herself comfortable in the 
curve of his arm. "I appreciate this 
opportunity," she said in the strong low 
voice he loved so well. "But I don't 
intend to pay too much for it, Johnny. 
I'm going to marry you, since you were 
nice enough to ask me. If I can work in 
pictures on the side— swell! If not 
she raised her small hand in a quick, 
eloquent gesture to the studios and 

9 career!" 



SECRETLY Veronica and Johnny filed 
their intention to marry on the 
"wenty-sixth of September. 

"I've always loathed the idea ot a 
ormal wedding and I was determined 
lot to have one," she says vehemently 
'I wouldn't want those who love me 
weeping while I was married. 1 wouldn't 
want others speculating about my 
;own and other things When you're 
;etting married I think you want to 
hink about getting married; not feel 
'ou're on parade!" 

Unexpectedly on the twenty-fifth of 
leptember the "I Wanted Wings" com- 
>any left for a location trip to Riverside 
/eronica called Johnny. "I won't be see- 
ng you tonight," she told him. "But our 
late for tomorrow holds. I'll meet you 
here. Same place, same time." 
Same place, same time. They had 
hosen a little church at Santa Ana for 
heir wedding and set eight o'clock for 
heir hour. 

The next day, working on location, 
'eronica grew tense waiting and plan- 
ing. The dress she had hoped to wear 
adn't come home from the cleaners, 
o she had packed her flaming red dress 
nd turban. She would, she decided, 
often the effect with long black gloves 
nd a black bag. 

Unfortunately she would have to wear 
'hite moccasins and limp down the aisle, 
he had torn ligaments in her leg run- 
ing for the camera and shoes were 
npossible. 

She returned to the hotel late that 
fternoon to find her mother and father 
id a friend waiting on the veranda. 
Daddy's so much stronger today we 
lought we'd come for dinner to sur- 
rise you," her mother said. 
It isn't likely Veronica ever will do 
finer piece of acting than she did then 
; she concealed her frenzied disappoint- 
ent. Dinner seemed interminable. 
"Are you working very hard?" asked 
ir father 

"Hard— and long!" she said dramati- 
lly. "Tomorrow, for instance, I have to 
? up at five o'clock and I have pages— 
■nply pages— of dialogue to learn to- 
ght." 

Even as she spoke they gathered their 
raps. "You go directly to bed," they 
Id her. 

"Good-by " She waved them down 
e hotel steps and flew upstairs to get 
r panda and call a cab. 
"Make time," she told her driver. "I'll 
y for any tickets And stop at the 
St drugstore we pass I have to 



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7021 Santa Monica Blvd., Dept. 388. Hollywood, Calif* 

82 



make a telephone call." 

When she got the Santa Ana rectory on 
the wire her wrist watch showed quarter 
to eight. "This is Veronica Lake," she 
said. "Remember me? I'm marrying 
John Detlie tonight. Tell him to wait, 
please! I've been held up but I'm on 
my way!" 

She rushed into the little rectory par- 
lor, forty-five minutes late. Johnny 
wasn't there. "Has he gone?" she cried 

The minister's wife patted her shoulder. 
"He'll be back in a minute," she ex- 
plained. "He went out for something 
to eat." 

SITTING on the sofa's edge, clutching 
her panda, Veronica disciplined her- 
self to be quiet and to speak calmly. But 
she could feel her heart p>ounding. 

When Johnny came and grinned at her 
over a big bouquet of baby gardenias 
with long white streamers it stopped 
pounding and began to whir with hap- 
piness. 

The panda sat on the bride's side of 
the church in the front pew. 

The minister's wife played the little 
organ. 

The candle flames fluttered in the soft 
breeze. 

Outside an open window a mocking- 
bird called. 

Smiling, Veronica limped down the 
aisle, bearing her flowers proudly. 

Smiling, Johnny waited at the altar. 

They turned to the minister who stood 
with his book open in his hand. 

"Dearly Beloved," he began, and they 
lifted reverent young faces to him. 

"With this ring I thee wed " said 
Johnny. 

The ring was a black enamel and 
silver panda, designed by Johnny, on 
a strong but delicate silver chain. What 
is engraved on the inside of that panda 
is their secret. 

"I thought," Johnny said, when it was 
over and they were in his car, "that 
we'd rather have our wedding wine here 
or under some tree than go to a cafe. 
But if you'd prefer a cafe. Baby. . . ." 

She drew closer. "Oh no, Johnny," 
she said. "It was wonderful of you to 
think of this. A cafe would be bright 
and noisy and sacrilegious." 

"You think of everything," Veronica 
told Johnny as, beaming, he produced 
two beautiful crystal goblets. He took 
her in his arms. He was, at once, strong 
and tender. 

"Here's to the day you'll come home. 
Mrs. Detlie!" he said softly. 

"To Saturday!" She raised her glass, 
too. "However late we get back I'll come 
straight to you. Then, Sunday morning, 
we can get your family and my family 
together and break the news! Mother 
can't complain about what we've done, 
certainly. She threw me at you, you 
might say. Or she threw you at me!" 

They drank their wine and crashed 
their glasses against a tree and put the 
pieces in the pocket of the car so they 
could save them forever. "Remember 
about them, Johnny. Don't cut yourself 
Remember . remember," she said. 

STUDIOS don't relish embryo stars' be- 
coming matrons before they've had a 
proper chance to publicize them as 
glamour girls. It dismayed the Paramount 
powers to learn of Veronica's elopement. 

"We can try to keep it quiet, at least 
for a little while," suggested someone 
who had never had any dealings with 
Veronica. 

"No, no," he was told, "we don't want 
any trouble with her!" 

Veronica and Johnny took a little 
apartment outside of town and accented 



the living room In chintz in blue-gray 
and yellow. They hung Johnny's paint- 
ings on the walls. They built shelves in 
the bedroom for all the toy pandas he 
had given her every Thursday because 
that's a special anniversary and every 
time she went away on location emd 
every time he discovered another reason 
why he loved her and why he was the 
luckiest man on earth. There were lit- 
erally dozens of pandas. 

"I'll quit pictures if you want me to," 
Veronica told Johnny. 

He looked thoughtful. "I'm not afraid 
you'll lose your head and put your career 
before everything else," he told her. "And 
I don't want any regrets later. I don't 
want you to remember the chance you 
have right now and feel you threw it 
away." 

"I never would, Johnny," she said. 

He shook his head. "You might not 
think so now. Baby. But I can't risk 
your ever resenting the psu-t I play in 
your life." 

"Johnny!" She threw herself in his 
arms. "Don"t even say such a thing!" 

"I WANTED WINGS" was a success. 

' Critics, the country over, admitted 
Veronica's effectiveness but sometimes 
expressed doubts about her versatility. 
This was her challenge. 

"I won't quit this business," she said 
fiercely, "until I'm known as an actress 
who can play anything from Baby Dump- 
ling to Old Lady Grundy. I won't be ar. 
overnight sensation. I'll be a woman 
with a profession I can depend upon— 
or know why!" 

Nevertheless, she proceeded, as before, 
on her own terms. 

Then Preston Sturges began testing 
girls, Veronica among them, for "Sulli- 
van's Travels." Veronica was chosen. 

"There's something you should know. " 
she told Sturges and the company exec- 
utives who were present. "I won't be 
able to work indefinitely. I'm going to 
have a baby!" 

One executive groaned. "Here we are 
publicizing you as a glamour girl and 
right away you must have a baby!" 

Another executive cupped his weary, 
bewildered head in his hands. 

"It's no use taking it so hard," Veron- 
ica told them. "You might as well get 
used to the idea. I'm going to have lots 
of babies — well, three at least!"' 

Preston Sturges grinned. It was a 
scene he wished he had directed. 

"You've given us fair warning.'' he 
told Veronica. "We'll proceed with your 
deadline — your lifeline, rather — in mind." 

"Sullivan's Travels" increased Veron- 
ica's fame. Her income, too. She was 
given a handsome bonus when it was 
completed. 

Elaine Keane Detlie, born August 27, 
1941, just six weeks after "Sullivan's 
Travels" was completed, increased her 
happiness. John's too. 

When Veronica returned to the studios 
two months after Elaine's arrival they 
were glad to see her and cast her imme- 
diately in "This Gun For Hire." After 
which the most doubting critics agreed 
she was more than a personality, that 
she was an actress and a darn good 
one. After which Paramount themselves 
brought up the subject of a new contract 
nodding understanding approval when 
Veronica announced her temporary home 
between future pictures would be Seattle 
where husband John, now a liaison officer 
in the camouflage department, is sta- 
tioned. 

She's doing all right with her career 
and her life and her love, this httle 
Miss Dynamite. 

The End 

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OKMIINUTE STORY 



BY 




I'M pi-oud that Miss Waller calls me a friend, 
and this is why. She's about forty, brown- 
haired, and small — -and blind. Luckily she has 
a tiny income which enables her to live frugally 
and simply — and I don't mean what you think an 
actress means by simple. 

On December 7 she was one of the first to hear 
the news. You see, the radio is a big part of her 
life. Miss Waller was like all of us. She wanted 
to do something. 

She couldn't drive an ambulance. She couldn't 
be of value even if she knew First Aid. She couldn't 
even afford to buy War Bonds. Discouraged, hope- 
less, spiritless. Miss Waller was conscious of her 
blindness for the first time in years. 



I had to leave town, and when I called on her 
upon my return I found her waiting on her porch. 
And her face had lost that hopeless, useless look 
and was abeam with happiness. Just then a car 
pulled up filled with men going to work. She was 
in a hurry to meet them, and this is what I learned. 
She's working in a defense plant now, one of the 
most valuable workers they have. You see. her 
fingers are so sensitive from Braille reading that 
they catch slight roughnesses in important machine 
parts that others might miss. And she's still living 
on her meager income. All her salary goes into 
War Bonds. 

"I know I'm blind." she said, "but I can still see 
pretty clearly what all of us have to do."' 



Keep Punchin' 



{Continued jrom page 51) was not a 
talent scout. 

"Let's listen," the cowboy said. 

The producer paused. 

The words came, soft as dawn in 
Ireland. 

"Oh I love the wild flowers in this 
dear land of ours 

The curlew I love to hear scream 

I love the white rocks and the an- 
telope flocks 

That graze on the mountaintops 
green." 

The world-famed cowboy went toward 
the voice. 

"Who was just singing?" he asked, 
glancing at Roy Rogers. 

"I was," the bashful young truck driver 
admitted. 

The man extended his hand. "I'm Tom 
Mix," he said. "And you belong," he 
looked around, "somewhere besides 
where you are. Try a band and keep 
punchin', kid. Your chance is bound to 
come." 

THE first chance for Roy was a spot in 
an amateur show; from this beginning 
he organized a cowboy band. The Rocky 
Mountaineers and then another troupe. 
The International Cowboys. 

"We didn't do very well through New 
Mexico, Arizona and Texas. We went 
broke fast and had to hock our belongings 
to buy gas on the road," Roy remembers 
sadly. 

In the New Mexico town of Roswell 
the troupe began to joke in earnest about 
how hungry they were for any kind of 
food. To make it local they called it 
home cooking. 

A young girl believed them. Request- 
ing a song of Roy, she brought him a 
lemon pie. She said her name was Arlene 
Williams. Roy looked into the clear 
young face with the admiring eyes and 
decided that was for him. Things are 
simple in the great sweeping vistas of the 
Southwest. 

Simple, but not always immediately 
possible. At the moment all he could do 
was sell the automobile that had carried 
the International Cowboys to fame and 
misfortune and give each member of the 
wandering group a few dollars. With 
nothing else to do each yodeler of West- 
ern songs decided to thumb his way to 
California. 

CTILL not forgetting Tom Mix, nor yet 
^ the golden goal that awaited him 
in a New Mexico town, the one-time 
hauler of gravel organized another radio 
band. 

The doleful months passed, and with 
them Roy's troupe. Then something hap- 
pened. 

"Here's a song to sing," a fellow radio 
worker said to him. Roy scanned it 
quickly. His own heart stirred with the 
haunting theme of the cowboy who has 
come to the end of the trail. "I'm headin' 
for the last roundup — " 

All was still as he stepped from the 
microphone. . . . 

Soon a telegram came from Hollywood. 
'You're learning how to punch around the 
fieart," it read. "Congratulations. Tom 
Mix." 

Destiny soon dealt another ace. He was 
;iven a regular job on a radio staff in 
iollywood. With this first contract 
inder his belt, Roy hopped into his car 
ind sped across Arizona to the heart of 
nesa land. There in the simple ceremony 
)f the country he joined his life with 
Vrlene Williams and as man and wife 

SEPTEMBER, 1942 



they turned their faces westward to the 
gloriously unpredictable future. 

But there was still another ace in the 
deck for Roy. He was having a cowboy 
hat cleaned in a little shop when he 
heard a man's voice saying, "Gene 
Autry's having trouble with his studio 
and they want someone to take his place. 
They don't want much — just a guy who 
can sing like an angel and ride like the 
devil and all the time look like Clark 
Gable on a white horse!" 

Roy remembers now, "1 went right 
over to the studio in my jalopy. I 
couldn't get in, so I just sat there and 
waited for a chance to sneak in and tell 
anyone about myself who'd listen." 

When after several hours he collared 
the producei , that gentleman asked, "Can 
you sing and play a guitar?" 

Roy rushed outside and returned with 
his guitar. He said, "I know two songs 
that Tom Mix liked." 

"Okay — if they were good enough for 
Mix, maybe they'll go here," said the 
producer halfheartedly. Listening to 
young hopefuls was part of the day's 
work. 

Roy thumbed his guitar. 

"Where seldom is heard, a discourag- 
ing word 

And the skies are not cloudy all day." 

"You'll do," the producer said, and 
pressed a button. 

\A/ITH no more camera experience to 
' ' his credit than singing with his 
troupe in two Autry films, Roy was 
thrown into the starring lead of "Under 
Western Stars." This was not so much 
foresight on the part of the studio as 
necessity. Gene was off the lot during 
his controversy and the stu^o was com- 
mitted to deliver its quota of Western 
pictures — but fast. 

After Republic mended its fences 
with Autry there was a moment when 
Roy's career hung by a thread, although 
the exhibitors were now asking for more 
of the star they had seen in "Under 
Western Stars." But the deciding factor 
was Singing Cowboy Number One him- 
self. Be it said to Gene Autry's ever- 
lasting credit that, when a word from 
him would have closed the studio doors 
on Roy, he chose to extend a helping hand 
to his ri